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"content": "\u003cp>\u003cem>\u003cstrong>Warning: This piece discusses events in the series finale of \u003c/strong>\u003c/em>\u003cstrong>Legion\u003c/strong>\u003cem>\u003cstrong>.\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>When it began, three seasons ago, \u003cem>Legion \u003c/em>was a show about a man who possessed the power of telepathy.\u003c/p>\n\u003cp>By the time it ended last night, \u003cem>Legion \u003c/em>had become a show about the power of empathy.\u003c/p>\n\u003cp>The three-season journey that took not-quite-a-superhero David Haller (Dan Stevens) from reading others’ thoughts to feeling others’ emotions was one that proved wildly discursive, often frustrating, frequently funny and never less than deeply, deeply weird.\u003c/p>\n\u003cp>Even when the narrative stumbled (or, more precisely, languished), \u003cem>Legion \u003c/em>wasn’t the kind of show you could easily tear your eyes away from. Creator Noah Hawley roped off a quiet corner of the Marvel Universe and proceeded to fill the screen with visuals so striking, so surreal and so \u003cem>determinedly \u003c/em>odd that it often took a moment to drink in just what the show was attempting to convey.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Some critics, especially in the early going, dinged the show’s tendency to indulge in eye-popping spectacle as just that—indulgent. And back in that first season, when David’s storyline seemed set to follow a familiar “hero learns his true nature and masters his powers” arc, those bits of visual flair did call attention to themselves.\u003c/p>\n\u003cp>But gradually, it became clear what Hawley and his team were up to: nudging the standard superhero narrative, which usually operates on an implicit, metaphorical level, over into the show’s explicit, physical reality.\u003c/p>\n\u003cp>Film and television are lousy with psychic characters who demonstrate their powers by scrunching up their faces and holding their arms out rigidly before them. And certainly, \u003cem>Legion\u003c/em>‘s Stevens did his fair share of mutant-miming. But the show took things further, using sound design, makeup, lighting, set design and cinematography to show us—to make us feel—how the world would seem to someone with the power to alter reality itself.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6zblbNYyv0A\u003c/p>\n\u003cp>Thus, David’s psychological trauma got transmuted into a literal monster living inside him. Delusions were rendered as black, virulent goo-creatures that took up residence in the brain and spread from person to person. In lieu of standard hero-vs.-villain slugfests, conflict took place on the Astral Plane, in the form of trippy musical numbers, dance-offs and/or rap battles.\u003c/p>\n\u003cp>But even when \u003cem>Legion\u003c/em>‘s visual design went to the furthest extremes, producing some of the most unsettling images TV’s produced in recent memory (The Devil With the Yellow Eyes, roomfuls of people standing stock-still in the near dark, chattering their teeth, and this season’s grinning, unstoppable, perpetually-encroaching Time-Eaters) they were all in service of something. It just took a while for the show to understand, or at least to reveal to viewers, what it was really about. It finally did so at the end of its second season, by turning the show’s ostensible hero into its villain, albeit one who vehemently insisted that the damage he was doing was for the greater good.\u003c/p>\n\u003cp>That’s when we learned that while David’s psychic parasite, Amahl Farouk, (Navid Negahban) may be capital-e Evil monster, it was David’s desperate zeal to prove himself a good person that drove him to actions that were \u003cem>truly \u003c/em>monstrous. In the final season, which saw the addition of Lauren Tsai as the time-traveling mutant Switch, that zeal turned to megalomania as he casually disregarded the pain of others in his quest to press a temporal reset button.\u003c/p>\n\u003cp>In the end, that button got pressed, and the world was saved—not by David’s mutant powers, but by the very human thing those powers gained him unique access to: empathy.\u003c/p>\n\u003cp>The last half-hour served up plenty of the kind of thrills other superhero shows dole out all the time, with a sword-wielding Kerry (Amber Midthunder, the show’s not-so-secret weapon) and Syd (Rachel Keller) making a last stand against those creepy Time Eaters. But the climax of David’s storyline was weirder, warmer and—in keeping with the show’s tradition—more abstract, and more satisfying.\u003c/p>\n\u003cp>On the Astral Plane, it was all hugs and tears and hard-won forgiveness as David’s father Charles (Harry Lloyd) apologized for abandoning him. Meanwhile, an older, wiser Farouk showed his younger, evil self all the damage they’d done to David over the years. And it was that act of empathy—of Farouk truly \u003cem>feeling \u003c/em>David’s life as a whole—that defeated the villain.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Selfless compassion revealed as the greatest mutant ability? It’s not where I would have bet the series would end up—but then, ever since that one dude showed up with the basket on his head and started speaking through those androgynous androids that looked like Sonny Bono in leotards, I’ve been content to let this show take me wherever it wanted to go.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Some critics, especially in the early going, dinged the show’s tendency to indulge in eye-popping spectacle as just that—indulgent. And back in that first season, when David’s storyline seemed set to follow a familiar “hero learns his true nature and masters his powers” arc, those bits of visual flair did call attention to themselves.\u003c/p>\n\u003cp>But gradually, it became clear what Hawley and his team were up to: nudging the standard superhero narrative, which usually operates on an implicit, metaphorical level, over into the show’s explicit, physical reality.\u003c/p>\n\u003cp>Film and television are lousy with psychic characters who demonstrate their powers by scrunching up their faces and holding their arms out rigidly before them. And certainly, \u003cem>Legion\u003c/em>‘s Stevens did his fair share of mutant-miming. 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"content": "\u003cp>How do you do a reboot when there’s absolutely no reason to do a reboot?\u003c/p>\n\u003cp>The characters on \u003cem>Beverly Hills, 90210 \u003c/em>were never particularly interesting. They were generic rich high-school students who grew into generic rich college students and then generic rich adults. They had money to chase their dreams regardless of talent (Owning a club! Running a newspaper! Having a boutique!). Their problems (Stalking! Diet pill addiction! Gambling addiction! Cocaine addiction! Meth addiction! Joining a cult!) would, in most cases, flare up and then go away, specifically because without them, there was no plot other than everyone sleeping with each other.\u003c/p>\n\u003cp>In short, there is no ever-loving reason to revisit any of these ding-dongs.\u003c/p>\n\u003cp>Refreshingly, the makers of the new show \u003cem>BH90210\u003c/em>, a nostalgia product for people who miss the original show, know there’s no reason to. So they don’t try. Instead, what begins Wednesday night on Fox is a scripted show about the actors trying to decide whether to revive the teen soap they were on when they were young. And all those actors play themselves. Get it? So you’re not catching up with Brenda and Brandon; you’re catching up with Shannen Doherty and Jason Priestley, playing fictionalized versions of themselves in a kind of showbiz comedy-drama-soap-farce about a potential \u003cem>90210 \u003c/em>reboot.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YcWKGy7df5o\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There are strong resemblances between the fictionalized versions of these actors and the real ones: Like the real Gabrielle Carteris, the one on the show is the president of the actors’ guild, and like the real Tori Spelling, the scripted one has had financial problems after using reality television to support herself and her large family for years. But the spouses are played by actors and the details are made up and so forth.\u003c/p>\n\u003cp>[Side note: Let’s just say that when I refer to an actor by first name, like “Tori,” I mean the fictional version. When I refer to an actor by last name, like “Spelling,” I mean the actual actor. It will make things … well, marginally clearer.]\u003c/p>\n\u003cp>In the first episode, the cast (Jason, Tori, Gabi, Jennie Garth, Ian Ziering, and Brian Austin Green) gets together at an anniversary panel. After they share a wild night of light infidelity and petty theft, Tori decides that the way to pay her many overdue bills is to convince everybody to come back together for a \u003cem>90210 \u003c/em>reboot. But they may also need Shannen—that’s Shannen Doherty—who we learn is off running an animal sanctuary and has been semi-estranged from the cast for years. (Another element borrowed from real-life rumors, at the very least.) There is a reasonably classy acknowledgment that a core cast member, Luke Perry, has died, but Tori hypothesizes that the rest of them just might be able to rally and put on a new show.\u003c/p>\n\u003cp>On the one hand, this is a very strange way to make a reboot. It’s not even of any potential value to anybody who isn’t looking at it as nostalgia—in no way would this hold up as a new Fox comedy for a curious person coming to it fresh. There is no straight-faced argument for it as an independent piece of work.\u003c/p>\n\u003cp>But as a nostalgic doodad, which is all that a lot of these reboots are anyway? It’s kind of cute. And, as previously mentioned, strange.\u003c/p>\n\u003cp>There’s no question that they’re flirting with a kind of uncanny San Fernando Valley, where the fictionalized actors are fake but also real, but also fake, \u003cem>ad infinitum\u003c/em>. Because Spelling is in fact an executive producer of \u003cem>BH90210\u003c/em>, just as fictional Tori is driving the reboot and trying to get everyone on board. Brian is married to a very famous woman, just as Green is married to Megan Fox. Jennie has had a couple of failed marriages, just like Garth, and Jason really wants to direct, just like Priestley.\u003c/p>\n\u003cp>There are a certain number of silly meta-jokes, like the fact that Tori’s husband is played by Ivan Sergei, who was Spelling’s co-star in the legendarily campy TV movie \u003cem>Mother May I Sleep With Danger?\u003c/em> It’s hard not to think that a moment in which Jason is kicked right in the Priestley, as it were, is meant as a little gift to people who found Brandon Walsh to be a self-righteous gasbag. (He was one, FYI.)\u003c/p>\n\u003cp>It’s hard to give a proper critique of something like this. It’s more like a bonus feature on a DVD than anything else. They’ve only given critics the first two episodes, and Shannen hasn’t even joined the group yet, so who knows how committed they are to making this as wild as it might be. But perhaps because expectations were lower than the top of Brandon’s head (he was short, you see), I must admit that I chuckled at its audacious weirdness. It’s the kind of thing that passes the time while you fold the laundry, and then you never think about it again.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Some days, that’s a blessing.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Old+Gang+Is+Back+Together+In+%27BH90210%2C%27+Sort+Of&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "There's certainly no need to revisit the ding dongs from 'Beverly Hills, 90210'. So to fill what they hope is an appetite for nostalgia, the stars are playing themselves in a showbiz story.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>How do you do a reboot when there’s absolutely no reason to do a reboot?\u003c/p>\n\u003cp>The characters on \u003cem>Beverly Hills, 90210 \u003c/em>were never particularly interesting. They were generic rich high-school students who grew into generic rich college students and then generic rich adults. They had money to chase their dreams regardless of talent (Owning a club! Running a newspaper! Having a boutique!). Their problems (Stalking! Diet pill addiction! Gambling addiction! Cocaine addiction! Meth addiction! Joining a cult!) would, in most cases, flare up and then go away, specifically because without them, there was no plot other than everyone sleeping with each other.\u003c/p>\n\u003cp>In short, there is no ever-loving reason to revisit any of these ding-dongs.\u003c/p>\n\u003cp>Refreshingly, the makers of the new show \u003cem>BH90210\u003c/em>, a nostalgia product for people who miss the original show, know there’s no reason to. So they don’t try. Instead, what begins Wednesday night on Fox is a scripted show about the actors trying to decide whether to revive the teen soap they were on when they were young. And all those actors play themselves. Get it? So you’re not catching up with Brenda and Brandon; you’re catching up with Shannen Doherty and Jason Priestley, playing fictionalized versions of themselves in a kind of showbiz comedy-drama-soap-farce about a potential \u003cem>90210 \u003c/em>reboot.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/YcWKGy7df5o'\n title='//www.youtube.com/embed/YcWKGy7df5o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There are strong resemblances between the fictionalized versions of these actors and the real ones: Like the real Gabrielle Carteris, the one on the show is the president of the actors’ guild, and like the real Tori Spelling, the scripted one has had financial problems after using reality television to support herself and her large family for years. But the spouses are played by actors and the details are made up and so forth.\u003c/p>\n\u003cp>[Side note: Let’s just say that when I refer to an actor by first name, like “Tori,” I mean the fictional version. When I refer to an actor by last name, like “Spelling,” I mean the actual actor. It will make things … well, marginally clearer.]\u003c/p>\n\u003cp>In the first episode, the cast (Jason, Tori, Gabi, Jennie Garth, Ian Ziering, and Brian Austin Green) gets together at an anniversary panel. After they share a wild night of light infidelity and petty theft, Tori decides that the way to pay her many overdue bills is to convince everybody to come back together for a \u003cem>90210 \u003c/em>reboot. But they may also need Shannen—that’s Shannen Doherty—who we learn is off running an animal sanctuary and has been semi-estranged from the cast for years. (Another element borrowed from real-life rumors, at the very least.) There is a reasonably classy acknowledgment that a core cast member, Luke Perry, has died, but Tori hypothesizes that the rest of them just might be able to rally and put on a new show.\u003c/p>\n\u003cp>On the one hand, this is a very strange way to make a reboot. It’s not even of any potential value to anybody who isn’t looking at it as nostalgia—in no way would this hold up as a new Fox comedy for a curious person coming to it fresh. There is no straight-faced argument for it as an independent piece of work.\u003c/p>\n\u003cp>But as a nostalgic doodad, which is all that a lot of these reboots are anyway? It’s kind of cute. And, as previously mentioned, strange.\u003c/p>\n\u003cp>There’s no question that they’re flirting with a kind of uncanny San Fernando Valley, where the fictionalized actors are fake but also real, but also fake, \u003cem>ad infinitum\u003c/em>. Because Spelling is in fact an executive producer of \u003cem>BH90210\u003c/em>, just as fictional Tori is driving the reboot and trying to get everyone on board. Brian is married to a very famous woman, just as Green is married to Megan Fox. Jennie has had a couple of failed marriages, just like Garth, and Jason really wants to direct, just like Priestley.\u003c/p>\n\u003cp>There are a certain number of silly meta-jokes, like the fact that Tori’s husband is played by Ivan Sergei, who was Spelling’s co-star in the legendarily campy TV movie \u003cem>Mother May I Sleep With Danger?\u003c/em> It’s hard not to think that a moment in which Jason is kicked right in the Priestley, as it were, is meant as a little gift to people who found Brandon Walsh to be a self-righteous gasbag. (He was one, FYI.)\u003c/p>\n\u003cp>It’s hard to give a proper critique of something like this. It’s more like a bonus feature on a DVD than anything else. They’ve only given critics the first two episodes, and Shannen hasn’t even joined the group yet, so who knows how committed they are to making this as wild as it might be. But perhaps because expectations were lower than the top of Brandon’s head (he was short, you see), I must admit that I chuckled at its audacious weirdness. It’s the kind of thing that passes the time while you fold the laundry, and then you never think about it again.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Some days, that’s a blessing.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Old+Gang+Is+Back+Together+In+%27BH90210%2C%27+Sort+Of&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Hulu's 'Four Weddings and a Funeral' Can't Live Up to the Classic Romcom",
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"content": "\u003cp>The idea of an anthology TV series inspired by \u003cem>Four Weddings and a Funeral\u003c/em>, the 1994 film that established Flopsy-Haired Hugh Grant as a romantic comedy staple, is a solid one. I wish I were here with better news about how it turned out. I hung in with it as long as I could; there are ten episodes, and I watched all seven that they’ve made available to critics. I really wanted to like it.\u003c/p>\n\u003cp>Hulu’s \u003cem>Four Weddings and a Funeral \u003c/em>was created by Mindy Kaling and Matt Warburton, both of \u003cem>The Mindy Project—\u003c/em>so far, so good. While \u003cem>Mindy \u003c/em>was inconsistent, it did some smart things with romantic comedy tropes. Its star is Nathalie Emmanuel, who recently wrapped up her run as Missandei on \u003cem>Game of Thrones\u003c/em>, and she’s entirely up to the challenge of playing Maya, a charming young American working for a politician she’s also having an affair with. When the affair goes bad, she heads to London to get away and to attend the first of the weddings, between her best friend Ainsley (Rebecca Rittenhouse) and the charming but flaky Kash (Nikesh Patel). Once that wedding is over, she decides to stay. Thus does the real story begin.\u003c/p>\n\u003cp>Also in London are more of Maya’s friends: Craig (Brandon Mychal Smith), who’s keeping a secret from his girlfriend Zara (Sophia La Porta); Duffy (John Reynolds), who’s been secretly pining for Maya for years in the way people used to think was cute; and Ainsley’s British bestie, Gemma (Zoe Boyle), who isn’t happy about Maya showing up to nudge her aside in Ainsley’s life.\u003c/p>\n\u003cp>The good news comes from the natural charms of Emmanuel, as well as from some very pretty settings and shots. There’s also a woman named Fatima (Rakhee Thakrar) who appears after a few episodes, and who brings a sparkle to her story. The bad news is the writing—just about all of the writing.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=604JeF9RNu8\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>If you’re going to write romantic comedy, it’s important to understand what things are romantic. Duffy’s charmless, sad-sack act in the early going, which presumes but does not establish some rooting interest in Maya’s one day returning his feelings, is not romantic. (If I may throw in a reference: It’s harder to do what Mary Stuart Masterson does in \u003cem>Some Kind Of Wonderful \u003c/em>than it looks.) There’s a moment when it seems like Duffy’s arc is getting better, then it gets worse again.\u003c/p>\n\u003cp>Craig’s story with Zara begins as a reasonably grounded tale about the effects of secrets on couples, but it turns into an absolutely bizarre reality-show plot that is never once welcome when it shows up in a scene. It never earns a moment of the screen time it receives, and it’s not as funny as a send-up of such shows as I think the writers who created it meant for it to be.\u003c/p>\n\u003cp>Ainsley is stranded in a bunch of strange anecdotes about the store she owns, and despite efforts to zazz her up a little by adding a short appearance by Andie MacDowell as her mother and even romcom VIP Dermot Mulroney as a rich guy who drops in late in the proceedings, she’s never interesting. Never. And it’s not the actress’ fault. It’s the writing. There’s just not enough reason to care about her.\u003c/p>\n\u003cp>The most promising romantic chemistry in the series is between Maya and Kash, who meet by chance early on when she’s on the way to his wedding—without, of course, each of them knowing who the other is. But they spend very little time in each other’s company for several episodes after that, which saps the show of the energy of the connection. To stretch an individual story of two people over 10 episodes of TV is really hard, and there are two ways to try to do it: You write a story between them that’s 10 episodes long, or you tease it once and then take a long break. The first one is better; the second is easier. This show does it the second way. And without spoiling things too much, by the time they get back to it, it’s not as appealing a direction as it once was.\u003c/p>\n\u003cp>There are things here that work nicely—Kash’s interactions with his dad and his little brother are charming and sweet. An unexpected lunch Maya has with her ex’s wife provides some surprising wisdom. But on the whole, these stories aren’t comedic or romantic, particularly. Some of the pieces are there, but the satisfaction of seeing them click into place is missing. Characters meant to seem charming seem creepy, and decisions meant to seem whimsical seem destructive.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Presumably by the end, there actually will have been four weddings and one funeral. But that’s regrettably just about the only way the show lives up to the billing.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Four+Weddings+And+A+Funeral%27+On+TV+Can%27t+Live+Up+To+A+Classic+Romcom&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The idea of an anthology TV series inspired by \u003cem>Four Weddings and a Funeral\u003c/em>, the 1994 film that established Flopsy-Haired Hugh Grant as a romantic comedy staple, is a solid one. I wish I were here with better news about how it turned out. I hung in with it as long as I could; there are ten episodes, and I watched all seven that they’ve made available to critics. I really wanted to like it.\u003c/p>\n\u003cp>Hulu’s \u003cem>Four Weddings and a Funeral \u003c/em>was created by Mindy Kaling and Matt Warburton, both of \u003cem>The Mindy Project—\u003c/em>so far, so good. While \u003cem>Mindy \u003c/em>was inconsistent, it did some smart things with romantic comedy tropes. Its star is Nathalie Emmanuel, who recently wrapped up her run as Missandei on \u003cem>Game of Thrones\u003c/em>, and she’s entirely up to the challenge of playing Maya, a charming young American working for a politician she’s also having an affair with. When the affair goes bad, she heads to London to get away and to attend the first of the weddings, between her best friend Ainsley (Rebecca Rittenhouse) and the charming but flaky Kash (Nikesh Patel). Once that wedding is over, she decides to stay. Thus does the real story begin.\u003c/p>\n\u003cp>Also in London are more of Maya’s friends: Craig (Brandon Mychal Smith), who’s keeping a secret from his girlfriend Zara (Sophia La Porta); Duffy (John Reynolds), who’s been secretly pining for Maya for years in the way people used to think was cute; and Ainsley’s British bestie, Gemma (Zoe Boyle), who isn’t happy about Maya showing up to nudge her aside in Ainsley’s life.\u003c/p>\n\u003cp>The good news comes from the natural charms of Emmanuel, as well as from some very pretty settings and shots. There’s also a woman named Fatima (Rakhee Thakrar) who appears after a few episodes, and who brings a sparkle to her story. The bad news is the writing—just about all of the writing.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/604JeF9RNu8'\n title='//www.youtube.com/embed/604JeF9RNu8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If you’re going to write romantic comedy, it’s important to understand what things are romantic. Duffy’s charmless, sad-sack act in the early going, which presumes but does not establish some rooting interest in Maya’s one day returning his feelings, is not romantic. (If I may throw in a reference: It’s harder to do what Mary Stuart Masterson does in \u003cem>Some Kind Of Wonderful \u003c/em>than it looks.) There’s a moment when it seems like Duffy’s arc is getting better, then it gets worse again.\u003c/p>\n\u003cp>Craig’s story with Zara begins as a reasonably grounded tale about the effects of secrets on couples, but it turns into an absolutely bizarre reality-show plot that is never once welcome when it shows up in a scene. It never earns a moment of the screen time it receives, and it’s not as funny as a send-up of such shows as I think the writers who created it meant for it to be.\u003c/p>\n\u003cp>Ainsley is stranded in a bunch of strange anecdotes about the store she owns, and despite efforts to zazz her up a little by adding a short appearance by Andie MacDowell as her mother and even romcom VIP Dermot Mulroney as a rich guy who drops in late in the proceedings, she’s never interesting. Never. And it’s not the actress’ fault. It’s the writing. There’s just not enough reason to care about her.\u003c/p>\n\u003cp>The most promising romantic chemistry in the series is between Maya and Kash, who meet by chance early on when she’s on the way to his wedding—without, of course, each of them knowing who the other is. But they spend very little time in each other’s company for several episodes after that, which saps the show of the energy of the connection. To stretch an individual story of two people over 10 episodes of TV is really hard, and there are two ways to try to do it: You write a story between them that’s 10 episodes long, or you tease it once and then take a long break. The first one is better; the second is easier. This show does it the second way. And without spoiling things too much, by the time they get back to it, it’s not as appealing a direction as it once was.\u003c/p>\n\u003cp>There are things here that work nicely—Kash’s interactions with his dad and his little brother are charming and sweet. An unexpected lunch Maya has with her ex’s wife provides some surprising wisdom. But on the whole, these stories aren’t comedic or romantic, particularly. Some of the pieces are there, but the satisfaction of seeing them click into place is missing. Characters meant to seem charming seem creepy, and decisions meant to seem whimsical seem destructive.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Presumably by the end, there actually will have been four weddings and one funeral. But that’s regrettably just about the only way the show lives up to the billing.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Four+Weddings+And+A+Funeral%27+On+TV+Can%27t+Live+Up+To+A+Classic+Romcom&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Before Wanda Sykes became a comic, she worked as a procurement officer for the National Security Agency and had top security clearance. But she always loved telling jokes, and when a local radio station sponsored a talent show that included a comedy category, she decided to audition.\u003c/p>\n\u003cp>“They put me on the show … [and] I fell in love with it,” she says. “I love doing stand-up. … That’s where I feel like I can be free.”\u003c/p>\n\u003cp>Sykes quit the NSA and began focusing on comedy. She told political jokes throughout the Clinton, Bush and Obama administrations. In 2009, she became the first African American woman to \u003ca href=\"https://www.youtube.com/watch?v=zmyRog2w4DI\">host the White House Correspondents’ Association dinner\u003c/a>.\u003c/p>\n\u003cp>Now she takes on President Trump in the Emmy-nominated Netflix special \u003ca href=\"https://www.netflix.com/title/81011598\">Not Normal\u003c/a>. Sykes insists the jokes don’t come easily under the current administration.\u003c/p>\n\u003cp>“You would think, ‘Oh boy, there’s so much to make fun of,’ but really I can’t write anything funnier or more ridiculous than what Trump actually says,” Sykes says. “It’s like doing a parody of a parody.”\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On getting booed at a charity event in Boston within a week of Trump’s election for criticizing him\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That was my fault, because it wasn’t my show. When I say “fault,” I don’t mean that … I take responsibility for being booed. I take responsibility [for] being a comic and not reading the room. I’m in Boston and it was a benefit for the \u003ca href=\"https://camneelyfoundation.org/\">Cam Neely Foundation\u003c/a>, and my friend \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=102962938\">Denis Leary \u003c/a>asked me to do it, and I’ve performed there before and it’s a great charity and it’s usually a fun night … but this was right after the election.\u003c/p>\n\u003cp>So Denis goes up and he does some Trump jokes and people laugh. And then another comic goes up and he does a couple jokes, whatever, some Trump stuff, and people laugh — another white guy.\u003c/p>\n\u003caside class=\"pullquote alignright\">\n‘They weren’t ready to see a black woman who happens to be a lesbian also making fun of the president.’ \u003ccite>Wanda Sykes\u003c/cite> \u003c/aside>\n\u003cp>And so then I go up, and [with] the first joke I get some laughs — it was a Trump joke — and then the second joke [I said,] “Hey, this isn’t the first time we’ve had a president who’s racist, homophobic, sexist, but this is just the first one that we can confirm.” And the crowd just turned then. …\u003c/p>\n\u003cp>Then I got it. I was like, “Oh, shoot. That’s right. I forgot. I’m a black, lesbian female, and they aren’t ready for this yet.” It’s like, white guys, sure, go ahead. Come on out … because we see it every night on late-night TV: white guys making fun of the president. … But they weren’t ready to see a black woman who happens to be a lesbian also making fun of the president.\u003c/p>\n\u003cp>\u003cstrong>On coming out publicly at a 2008 LGBTQ rally in Las Vegas \u003c/strong>\u003c/p>\n\u003cp>I didn’t even know that I was going to do it. It wasn’t planned at all. I was in Vegas performing … and there [was an LGBTQ equality] protest in Vegas. … So it’s like, Hey … let’s go out and support and protest. So I get there, and it’s a large crowd and the head of the [LGBTQ] center, she’s speaking and she said, “We have someone out here who’s an ally, and she’s a strong voice for the community. And I’m just going to put her on the spot and see if she will come up and say a few words.”\u003c/p>\n\u003cp>Now, I’m looking around in the audience thinking, “Is Drew Barrymore here? Is Pink here? What’s going on?” I’m looking around for the ally, and then she says, “Wanda Sykes.” I’m like, “Oh, no. I’m part of the family. I’m not the ally.” So I go up and it just happened and \u003ca href=\"https://www.youtube.com/watch?v=S6UdoCIYvIw\">I made the speech\u003c/a>. … When I got back to the hotel room, I’m looking at CNN and now I’m on the crawl, and I was like, “Oh boy.”\u003c/p>\n\u003cp>\u003cstrong>On having a white wife and white children and joking that she feels like a minority in her own house \u003c/strong>\u003c/p>\n\u003cp>It feels weird when I think about it, but [when] it’s just the four of us, then I don’t think I think of it then, but when her family is there or we have a bunch of friends over, I do kind of look around and I go, “Man, there’s a lot of white people in my house right now.” And it’s not like I don’t like it or it makes me uncomfortable. It’s just I noticed it. … Sometimes I’ll call a friend like, “Hey man, what you doing? Want to come over?” And he goes, “What? You got too many white people in your house?” I’m like, “Yeah.”\u003c/p>\n\u003cp>\u003cstrong>On what she likes about motherhood \u003c/strong>\u003c/p>\n\u003cp>It takes you out of yourself. Just to be able to love something so much and want to be there and take care of them and not worry about yourself. It’s just good to know that I have that capability. … I thought I was so self-absorbed, but wow, look at me! Look at me parenting and being caring about something else other than myself! It’s just beautiful. I’ve learned a lot about myself. So I guess that is kind of like about me again. Damn it! I thought I had this.\u003c/p>\n\u003cp>\u003cstrong>On being diagnosed with early stage breast cancer and electing to do a double mastectomy \u003c/strong>\u003c/p>\n\u003cp>I have an incredibly strong history of cancer on my mom’s side. … I’ve lost aunts to breast cancer, ovarian cancer. My uncles, all the boys on her side, they’ve had prostate cancer. … We just had kids. The kids were maybe 2. So I was like, Look, I just wanted this taken care of — and my doctors, they also advised the same thing. … It was tough, but I feel great and I got some perky boobs out of it!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Lauren Krenzel and Seth Kelley produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Wanda+Sykes+Loves+Stand-Up%3A+That%27s+Where+%27I+Can+Be+Free%2C%27+She+Says&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Before Wanda Sykes became a comic, she worked as a procurement officer for the National Security Agency and had top security clearance. But she always loved telling jokes, and when a local radio station sponsored a talent show that included a comedy category, she decided to audition.\u003c/p>\n\u003cp>“They put me on the show … [and] I fell in love with it,” she says. “I love doing stand-up. … That’s where I feel like I can be free.”\u003c/p>\n\u003cp>Sykes quit the NSA and began focusing on comedy. She told political jokes throughout the Clinton, Bush and Obama administrations. In 2009, she became the first African American woman to \u003ca href=\"https://www.youtube.com/watch?v=zmyRog2w4DI\">host the White House Correspondents’ Association dinner\u003c/a>.\u003c/p>\n\u003cp>Now she takes on President Trump in the Emmy-nominated Netflix special \u003ca href=\"https://www.netflix.com/title/81011598\">Not Normal\u003c/a>. Sykes insists the jokes don’t come easily under the current administration.\u003c/p>\n\u003cp>“You would think, ‘Oh boy, there’s so much to make fun of,’ but really I can’t write anything funnier or more ridiculous than what Trump actually says,” Sykes says. “It’s like doing a parody of a parody.”\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On getting booed at a charity event in Boston within a week of Trump’s election for criticizing him\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That was my fault, because it wasn’t my show. When I say “fault,” I don’t mean that … I take responsibility for being booed. I take responsibility [for] being a comic and not reading the room. I’m in Boston and it was a benefit for the \u003ca href=\"https://camneelyfoundation.org/\">Cam Neely Foundation\u003c/a>, and my friend \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=102962938\">Denis Leary \u003c/a>asked me to do it, and I’ve performed there before and it’s a great charity and it’s usually a fun night … but this was right after the election.\u003c/p>\n\u003cp>So Denis goes up and he does some Trump jokes and people laugh. And then another comic goes up and he does a couple jokes, whatever, some Trump stuff, and people laugh — another white guy.\u003c/p>\n\u003caside class=\"pullquote alignright\">\n‘They weren’t ready to see a black woman who happens to be a lesbian also making fun of the president.’ \u003ccite>Wanda Sykes\u003c/cite> \u003c/aside>\n\u003cp>And so then I go up, and [with] the first joke I get some laughs — it was a Trump joke — and then the second joke [I said,] “Hey, this isn’t the first time we’ve had a president who’s racist, homophobic, sexist, but this is just the first one that we can confirm.” And the crowd just turned then. …\u003c/p>\n\u003cp>Then I got it. I was like, “Oh, shoot. That’s right. I forgot. I’m a black, lesbian female, and they aren’t ready for this yet.” It’s like, white guys, sure, go ahead. Come on out … because we see it every night on late-night TV: white guys making fun of the president. … But they weren’t ready to see a black woman who happens to be a lesbian also making fun of the president.\u003c/p>\n\u003cp>\u003cstrong>On coming out publicly at a 2008 LGBTQ rally in Las Vegas \u003c/strong>\u003c/p>\n\u003cp>I didn’t even know that I was going to do it. It wasn’t planned at all. I was in Vegas performing … and there [was an LGBTQ equality] protest in Vegas. … So it’s like, Hey … let’s go out and support and protest. So I get there, and it’s a large crowd and the head of the [LGBTQ] center, she’s speaking and she said, “We have someone out here who’s an ally, and she’s a strong voice for the community. And I’m just going to put her on the spot and see if she will come up and say a few words.”\u003c/p>\n\u003cp>Now, I’m looking around in the audience thinking, “Is Drew Barrymore here? Is Pink here? What’s going on?” I’m looking around for the ally, and then she says, “Wanda Sykes.” I’m like, “Oh, no. I’m part of the family. I’m not the ally.” So I go up and it just happened and \u003ca href=\"https://www.youtube.com/watch?v=S6UdoCIYvIw\">I made the speech\u003c/a>. … When I got back to the hotel room, I’m looking at CNN and now I’m on the crawl, and I was like, “Oh boy.”\u003c/p>\n\u003cp>\u003cstrong>On having a white wife and white children and joking that she feels like a minority in her own house \u003c/strong>\u003c/p>\n\u003cp>It feels weird when I think about it, but [when] it’s just the four of us, then I don’t think I think of it then, but when her family is there or we have a bunch of friends over, I do kind of look around and I go, “Man, there’s a lot of white people in my house right now.” And it’s not like I don’t like it or it makes me uncomfortable. It’s just I noticed it. … Sometimes I’ll call a friend like, “Hey man, what you doing? Want to come over?” And he goes, “What? You got too many white people in your house?” I’m like, “Yeah.”\u003c/p>\n\u003cp>\u003cstrong>On what she likes about motherhood \u003c/strong>\u003c/p>\n\u003cp>It takes you out of yourself. Just to be able to love something so much and want to be there and take care of them and not worry about yourself. It’s just good to know that I have that capability. … I thought I was so self-absorbed, but wow, look at me! Look at me parenting and being caring about something else other than myself! It’s just beautiful. I’ve learned a lot about myself. So I guess that is kind of like about me again. Damn it! I thought I had this.\u003c/p>\n\u003cp>\u003cstrong>On being diagnosed with early stage breast cancer and electing to do a double mastectomy \u003c/strong>\u003c/p>\n\u003cp>I have an incredibly strong history of cancer on my mom’s side. … I’ve lost aunts to breast cancer, ovarian cancer. My uncles, all the boys on her side, they’ve had prostate cancer. … We just had kids. The kids were maybe 2. So I was like, Look, I just wanted this taken care of — and my doctors, they also advised the same thing. … It was tough, but I feel great and I got some perky boobs out of it!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"headTitle": "‘Jane The Virgin’ Ends on a High Note | KQED",
"content": "\u003cp>Ah, friends.\u003c/p>\n\u003cp>We should have known \u003cem>Jane The Virgin \u003c/em>would know how to execute a beautiful finale, but what a relief to actually see it.\u003c/p>\n\u003cp>\u003cem>Jane \u003c/em>has been a delight since it premiered in 2014. Loosely based on a Venezuelan telenovela, it carries some expected markers of an actual telenovela (fake deaths! evil twins!) while also working as a satirical take on the form. It employs formal playfulness like typing words onto the screen like captions so you can be reminded who people are, since nobody could be expected to remember everything. And it has a narrator, voiced by Anthony Mendez, who gasps and frets, then comforts us when sad events plague Jane and her family. And that sexy narrator begins his last introduction, his last “let me sum up” segment with, yes, the phrase, “Ah, friends.”\u003c/p>\n\u003cp>Ending \u003cem>Jane \u003c/em>is not like ending almost any other show on TV. As the writers acknowledge within the final episode, a telenovela must end with a bang, with wishes that come true, with tears and reconciliation.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9gIwn5llbTM\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>To step back a moment, \u003cem>Jane \u003c/em>had a tremendous number of threads to tie up. The narrator’s montage after “Ah, friends” could only scratch the surface as it took us all the way back to the very beginning. We remembered Jane’s initial accidental insemination with Rafael’s sperm in season 1, which disrupted her relationship with her boyfriend Michael, who eventually became her fiance and then her husband, despite the fact that she also had feelings for Rafael, with whom she now shared a child. Meanwhile, Rafael’s initially awful wife Petra, who became his awful \u003cem>ex\u003c/em>-wife Petra, was Jane’s nemesis at first. Petra also managed to inseminate herself and wind up having Rafael’s twins (long story), then, over time, she came out as bisexual, started and then lost a loving relationship with a woman named JR, defeated some evil family members, grew as a person, and emerged as Jane’s dear friend. Michael, meanwhile, got shot, recovered somewhat, died anyway, and came back from the dead after Jane had spent years grieving and was back with Rafael. But by the time Michael came back, he and Jane had been apart for years and had changed too much, and while it was nobody’s fault, they said goodbye again, and Michael went off to live in Montana where he’s happy. Jane got engaged to Rafael, sold her second book, saw her father Rogelio marry her mother Xiomara, and saw her grandmother Alba marry her love Jorge, too.\u003c/p>\n\u003cp>Take a deep breath here. You can see why they needed a narrator.\u003c/p>\n\u003cp>The hardest part of ending this show—what was always going to be the hardest point of ending this show—was dealing with Jane’s very real love stories with both Michael and Rafael. Since the decision was to conclude with Rafael and Jane married, it was a very smart choice to settle the last piece of the Michael story last week. Fans saw enough of Michael to know that he is happy, living in Montana with a new relationship and a baby on the way. But keeping him present during an episode that focused on Jane and Raf’s wedding would have seemed like a tease, and would have made it seem like Jane was still primarily defined as a woman caught between two men, and the show is no longer that.\u003c/p>\n\u003cp>Instead, the finale had room to breathe as exactly what it was: the conclusion of Rafael and Jane’s love story as told on \u003cem>Jane The Virgin \u003c/em>and, as Raf and Jane discussed, the beginning of the rest of their lives. That doesn’t mean all the other stories didn’t matter or were abandoned—it was still a whirlwind of activity. Rafael’s birth parents were found and revealed to be deceased, and he was sad, but realized he had family nevertheless. Jane’s friend Lina who had wanted Jane to donate an egg so she could get pregnant showed up pregnant with a different donor egg! Petra and JR were reunited just as the wedding was about to start! Xo and Rogelio were moving to New York, then Xo got cold feet, then her feet warmed up again! (This was a really lovely inversion of the usual dynamic in which the child moves away from the parent and has to deal with striking out on her own.)\u003c/p>\n\u003cp>Obviously, Rita Moreno returned as Rogelio’s mother. Nobody would deny you that. And the narrator threw in a little factoid about himself that some fans, but not all, had predicted.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=m-UKG1gCJnE\u003c/p>\n\u003cp>There was, of course, time for an outbreak of wacky hijinks on the morning of the wedding: Rafael rushed Jane’s last-minute changes to the printer before the galley copies of her book were to be printed (THIS IS NOT HOW THIS WORKS!), but he wound up being thrown in jail. That sent Jane on a journey across town, which ultimately led her through a crowd of marathoners, onto a bus, figuring out how to pick up her groom and get her whole family to the wedding. There, Alba married Jane and Raf in Spanish. They both had trouble getting through their vows because they were crying, so they simply exchanged the papers they’d written on. It’s a beautiful ending.\u003c/p>\n\u003cp>The elephant in the room, of course, is that there are “Jane belongs with Michael” people, and some will never forgive the show for ending this way. Some will tell you flat-out that no ending where Jane was with Rafael would do. Others will tell you that if she wasn’t going to end up with Michael, he should never have come back from the dead in the first place—they could have lived with Jane being forced to settle for someone besides Michael, but cannot accept she ever would have \u003cem>chosen \u003c/em>someone else. They feel they were teased. Still others find the ending unfair to Michael: Why should Rafael get to be happy and Michael doesn’t?\u003c/p>\n\u003cp>These are very natural responses to this ending, I think. I was always a Rafael person, to the point where I didn’t understand the concept of Michael people for a good while into the show. I assumed everyone distrusted Michael in the same way I did; I assumed Jane getting past her guilt-tripping, kind of possessive boyfriend was what the show was about. And there came a time in the third season when I felt like the deck was overwhelmingly becoming stacked—Michael was suddenly perfect, everything he did was right, all his flaws had vanished, he and Jane were a perfect couple, they got married, and it seemed very boring to me. But then when he died, I felt like I understood what the writers had been doing, particularly as the third and fourth seasons tackled Jane’s grief.\u003c/p>\n\u003cp>So when he came back this season, I thought, “Oh, \u003cem>no\u003c/em>.” Even though Michael seemed to have recovered from his early Nice Guy Syndrome (not the problem of being a nice guy, but the problem of seeming embittered by not getting everything he wanted from the woman he wanted simply because he’s such a nice guy), I still didn’t want that ending. Just as other people won’t want this one.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>But I did. I really, really did. I wanted the little tidbits, and the kids reading from the book about love, and Xo having her own growing-up moment, and Rogelio wanting Rafael to call him “Dad” (after years of being a Michael guy himself, Rogelio learned to love Raf). I wanted the bus and the passengers and Jane getting dressed in the back with her mother and her grandmother. It was satisfying and moving and I cried, and as a critic, it means so much to see a show land the creative plane this successfully. \u003cem>Jane \u003c/em>has been a balm, and as much as it will be missed, what a beautiful sendoff.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Jane+The+Virgin%27+Ends+On+A+High+Note&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ah, friends.\u003c/p>\n\u003cp>We should have known \u003cem>Jane The Virgin \u003c/em>would know how to execute a beautiful finale, but what a relief to actually see it.\u003c/p>\n\u003cp>\u003cem>Jane \u003c/em>has been a delight since it premiered in 2014. Loosely based on a Venezuelan telenovela, it carries some expected markers of an actual telenovela (fake deaths! evil twins!) while also working as a satirical take on the form. It employs formal playfulness like typing words onto the screen like captions so you can be reminded who people are, since nobody could be expected to remember everything. And it has a narrator, voiced by Anthony Mendez, who gasps and frets, then comforts us when sad events plague Jane and her family. And that sexy narrator begins his last introduction, his last “let me sum up” segment with, yes, the phrase, “Ah, friends.”\u003c/p>\n\u003cp>Ending \u003cem>Jane \u003c/em>is not like ending almost any other show on TV. As the writers acknowledge within the final episode, a telenovela must end with a bang, with wishes that come true, with tears and reconciliation.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/9gIwn5llbTM'\n title='//www.youtube.com/embed/9gIwn5llbTM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>To step back a moment, \u003cem>Jane \u003c/em>had a tremendous number of threads to tie up. The narrator’s montage after “Ah, friends” could only scratch the surface as it took us all the way back to the very beginning. We remembered Jane’s initial accidental insemination with Rafael’s sperm in season 1, which disrupted her relationship with her boyfriend Michael, who eventually became her fiance and then her husband, despite the fact that she also had feelings for Rafael, with whom she now shared a child. Meanwhile, Rafael’s initially awful wife Petra, who became his awful \u003cem>ex\u003c/em>-wife Petra, was Jane’s nemesis at first. Petra also managed to inseminate herself and wind up having Rafael’s twins (long story), then, over time, she came out as bisexual, started and then lost a loving relationship with a woman named JR, defeated some evil family members, grew as a person, and emerged as Jane’s dear friend. Michael, meanwhile, got shot, recovered somewhat, died anyway, and came back from the dead after Jane had spent years grieving and was back with Rafael. But by the time Michael came back, he and Jane had been apart for years and had changed too much, and while it was nobody’s fault, they said goodbye again, and Michael went off to live in Montana where he’s happy. Jane got engaged to Rafael, sold her second book, saw her father Rogelio marry her mother Xiomara, and saw her grandmother Alba marry her love Jorge, too.\u003c/p>\n\u003cp>Take a deep breath here. You can see why they needed a narrator.\u003c/p>\n\u003cp>The hardest part of ending this show—what was always going to be the hardest point of ending this show—was dealing with Jane’s very real love stories with both Michael and Rafael. Since the decision was to conclude with Rafael and Jane married, it was a very smart choice to settle the last piece of the Michael story last week. Fans saw enough of Michael to know that he is happy, living in Montana with a new relationship and a baby on the way. But keeping him present during an episode that focused on Jane and Raf’s wedding would have seemed like a tease, and would have made it seem like Jane was still primarily defined as a woman caught between two men, and the show is no longer that.\u003c/p>\n\u003cp>Instead, the finale had room to breathe as exactly what it was: the conclusion of Rafael and Jane’s love story as told on \u003cem>Jane The Virgin \u003c/em>and, as Raf and Jane discussed, the beginning of the rest of their lives. That doesn’t mean all the other stories didn’t matter or were abandoned—it was still a whirlwind of activity. Rafael’s birth parents were found and revealed to be deceased, and he was sad, but realized he had family nevertheless. Jane’s friend Lina who had wanted Jane to donate an egg so she could get pregnant showed up pregnant with a different donor egg! Petra and JR were reunited just as the wedding was about to start! Xo and Rogelio were moving to New York, then Xo got cold feet, then her feet warmed up again! (This was a really lovely inversion of the usual dynamic in which the child moves away from the parent and has to deal with striking out on her own.)\u003c/p>\n\u003cp>Obviously, Rita Moreno returned as Rogelio’s mother. Nobody would deny you that. And the narrator threw in a little factoid about himself that some fans, but not all, had predicted.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/m-UKG1gCJnE'\n title='//www.youtube.com/embed/m-UKG1gCJnE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There was, of course, time for an outbreak of wacky hijinks on the morning of the wedding: Rafael rushed Jane’s last-minute changes to the printer before the galley copies of her book were to be printed (THIS IS NOT HOW THIS WORKS!), but he wound up being thrown in jail. That sent Jane on a journey across town, which ultimately led her through a crowd of marathoners, onto a bus, figuring out how to pick up her groom and get her whole family to the wedding. There, Alba married Jane and Raf in Spanish. They both had trouble getting through their vows because they were crying, so they simply exchanged the papers they’d written on. It’s a beautiful ending.\u003c/p>\n\u003cp>The elephant in the room, of course, is that there are “Jane belongs with Michael” people, and some will never forgive the show for ending this way. Some will tell you flat-out that no ending where Jane was with Rafael would do. Others will tell you that if she wasn’t going to end up with Michael, he should never have come back from the dead in the first place—they could have lived with Jane being forced to settle for someone besides Michael, but cannot accept she ever would have \u003cem>chosen \u003c/em>someone else. They feel they were teased. Still others find the ending unfair to Michael: Why should Rafael get to be happy and Michael doesn’t?\u003c/p>\n\u003cp>These are very natural responses to this ending, I think. I was always a Rafael person, to the point where I didn’t understand the concept of Michael people for a good while into the show. I assumed everyone distrusted Michael in the same way I did; I assumed Jane getting past her guilt-tripping, kind of possessive boyfriend was what the show was about. And there came a time in the third season when I felt like the deck was overwhelmingly becoming stacked—Michael was suddenly perfect, everything he did was right, all his flaws had vanished, he and Jane were a perfect couple, they got married, and it seemed very boring to me. But then when he died, I felt like I understood what the writers had been doing, particularly as the third and fourth seasons tackled Jane’s grief.\u003c/p>\n\u003cp>So when he came back this season, I thought, “Oh, \u003cem>no\u003c/em>.” Even though Michael seemed to have recovered from his early Nice Guy Syndrome (not the problem of being a nice guy, but the problem of seeming embittered by not getting everything he wanted from the woman he wanted simply because he’s such a nice guy), I still didn’t want that ending. Just as other people won’t want this one.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But I did. I really, really did. I wanted the little tidbits, and the kids reading from the book about love, and Xo having her own growing-up moment, and Rogelio wanting Rafael to call him “Dad” (after years of being a Michael guy himself, Rogelio learned to love Raf). I wanted the bus and the passengers and Jane getting dressed in the back with her mother and her grandmother. It was satisfying and moving and I cried, and as a critic, it means so much to see a show land the creative plane this successfully. \u003cem>Jane \u003c/em>has been a balm, and as much as it will be missed, what a beautiful sendoff.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Jane+The+Virgin%27+Ends+On+A+High+Note&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Queue Up Your Preschool Playlist, 'Peppa Pig' Has Just Dropped 'My First Album'",
"headTitle": "Queue Up Your Preschool Playlist, ‘Peppa Pig’ Has Just Dropped ‘My First Album’ | KQED",
"content": "\u003cp>Fun fact: The 17-year-old voice actor who plays the beloved cartoon character Peppa Pig actually lives on a farm \u003cem>and\u003c/em> has her own pigs who are (of course) named Peppa and George. “They’re very cheeky,” says Harley Bird. “There was one time when I went in to feed them in the morning and they started eating my Wellies whilst I was still wearing them.”\u003c/p>\n\u003cp>Bird and her family live in Tring, a village about 40 miles northeast of London. She travels to the city to record the award-winning British cartoon, then returns home to feed the chickens.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qCrWdQb00rQ\u003c/p>\n\u003cp>In the show, the 4-year-old pig shares sweet adventures with her little brother George, Mommy Pig, Daddy Pig and her animal friends. \u003cem>Peppa Pig \u003c/em>airs in more than 180 countries—she’s starred in movies and stage shows, and has her own \u003ca href=\"https://www.youtube.com/channel/UCAOtE1V7Ots4DjM8JLlrYgg\">YouTube channel\u003c/a>. There are Peppa Pig games and toys, and even a theme park in England. And now, Peppa has dropped her first album, titled simply: \u003cem>\u003ca href=\"https://eone.ffm.to/myfirstalbum\">My First Album.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=11&v=vJj3Ch79tNs\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Bird, who has voiced Peppa for nearly 13 years, is visiting the U.S. with her mom, and her younger siblings Olivia and Rosco. They’re on vacation, but she’s also promoting Peppa’s album, in which she sings about friendship, balloon rides and her favorite pastime—jumping in muddy puddles (wearing her boots, of course). The album includes songs such as \u003ca href=\"https://www.youtube.com/watch?v=vJj3Ch79tNs\">“Bing Bong Zoo,”\u003c/a> \u003ca href=\"https://www.youtube.com/watch?v=fogpMbJLouo\">“The Class of Madame Gazelle”\u003c/a> and “Peppa’s Party Time.”\u003c/p>\n\u003cp>\u003cem>Peppa Pig\u003c/em> debuted in the U.K. and Australia in 2004, and has been on Nick Jr. in the U.S. for the past eight years. The cartoon was voiced by two other actors before the producers found Harley Bird (that’s her stage name).\u003c/p>\n\u003cfigure id=\"attachment_13862791\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13862791\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/peppa3_custom-8339eb1715bd5bacaa4afb957014b8ef0769a7ba.jpg\" alt=\"Harley Bird, now 17, landed the role of Peppa Pig at her first ever audition, when she was 5 years old.\" width=\"200\" height=\"264\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/peppa3_custom-8339eb1715bd5bacaa4afb957014b8ef0769a7ba.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/peppa3_custom-8339eb1715bd5bacaa4afb957014b8ef0769a7ba-160x211.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Harley Bird, now 17, landed the role of Peppa Pig at her first ever audition, when she was 5 years old. \u003ccite>(Mandalit del Barco/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gill Riley, Bird’s mom, realized her daughter had a dramatic flair, so she found an agent for her. “She was just a little quirky, little bit different and she definitely had something about her,” Riley explains.\u003c/p>\n\u003cp>Bird was just 5 when she landed the role in her first-ever audition. “I just sounded like a pig—that’s it,” says Bird. “I couldn’t really read at all—I mean, I was five.”\u003c/p>\n\u003cp>Along the way, she learned to read … and to snort like a piggy. (\u003ca href=\"https://twitter.com/Radioactive22/status/1156566381246083072\">Click here to see her switch into her Peppa voice.\u003c/a>) More than a decade later, she now has to change her voice to sound younger, higher and more kid-like. She says it’s getting to be more of a struggle, and at some point she probably won’t be able to keep it up. “My voice still is changing,” she says. “There probably will be a point when I’m going to have to pass the pig.”\u003c/p>\n\u003cp>In addition to playing Peppa, Bird has some other notable entries on her resume: She has a black belt in kickboxing, she works at the village pub and Prince William once waved to her. She’s studying for her A levels to get into university, and would like to become a casting director. Bird acted in the 2013 movie \u003cem>How I Live Now,\u003c/em> had a small part on TV’s \u003cem>Doctor Who\u003c/em> and starred in the Disney series \u003cem>So Sammy.\u003c/em> As Peppa, she won a prestigious BAFTA Award when she was just 9.\u003c/p>\n\u003cp>She seems surprised to learn that some critics \u003ca href=\"https://www.huffpost.com/entry/is-peppa-pig-fat-shaming_n_586d158ce4b0d9a5945d505c\">call out the show for fat-shaming Daddy Pig\u003c/a>. And she’s only heard bits and bobs about the news that Peppa Pig is \u003ca href=\"https://www.nytimes.com/2018/05/01/world/asia/peppa-pig-china-censors.html\">considered a subversive symbol in China\u003c/a>.\u003c/p>\n\u003cp>“I don’t really have anything to say about it,” says Bird, adding that Peppa is “such an innocent thing, that for it to be made into anything more is a tiny bit ridiculous.”\u003c/p>\n\u003cp>Bird doesn’t take her singing too seriously either, and jokes about performing at Coachella as Peppa Pig. She’s super excited about \u003ca href=\"https://twitter.com/LilNasX/status/1153377578725625856\">a shoutout she got\u003c/a> from rapper Little Nas X. “He was tweeting something about doing a collab,” she gushes. “I am so in with that. Definitely. I mean, I’m in America. Find me. Let’s collab!”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Peppa Pig’s album dropped the same day as Iggy Azalea’s, \u003ca href=\"https://twitter.com/IGGYAZALEA/status/1151060798929821696\">prompting the rapper to tweet\u003c/a> “It’s over for me now.” Peppa \u003ca href=\"https://twitter.com/peppapig/status/1151175779876790272\">tweeted back\u003c/a>: “Peppa’s so fancy, you already know.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Queue+Up+Your+Preschool+Playlist%2C+%27Peppa+Pig%27+Has+Just+Dropped+%27My+First+Album%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "Peppa is a 4-year-old, cartoon pig whose award-winning TV show airs in more than 180 countries. For the last 13 years she's been played by Harley Bird, who got the part when she was only 5 years old.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fun fact: The 17-year-old voice actor who plays the beloved cartoon character Peppa Pig actually lives on a farm \u003cem>and\u003c/em> has her own pigs who are (of course) named Peppa and George. “They’re very cheeky,” says Harley Bird. “There was one time when I went in to feed them in the morning and they started eating my Wellies whilst I was still wearing them.”\u003c/p>\n\u003cp>Bird and her family live in Tring, a village about 40 miles northeast of London. She travels to the city to record the award-winning British cartoon, then returns home to feed the chickens.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/qCrWdQb00rQ'\n title='//www.youtube.com/embed/qCrWdQb00rQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the show, the 4-year-old pig shares sweet adventures with her little brother George, Mommy Pig, Daddy Pig and her animal friends. \u003cem>Peppa Pig \u003c/em>airs in more than 180 countries—she’s starred in movies and stage shows, and has her own \u003ca href=\"https://www.youtube.com/channel/UCAOtE1V7Ots4DjM8JLlrYgg\">YouTube channel\u003c/a>. There are Peppa Pig games and toys, and even a theme park in England. And now, Peppa has dropped her first album, titled simply: \u003cem>\u003ca href=\"https://eone.ffm.to/myfirstalbum\">My First Album.\u003c/a>\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/vJj3Ch79tNs'\n title='//www.youtube.com/embed/vJj3Ch79tNs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bird, who has voiced Peppa for nearly 13 years, is visiting the U.S. with her mom, and her younger siblings Olivia and Rosco. They’re on vacation, but she’s also promoting Peppa’s album, in which she sings about friendship, balloon rides and her favorite pastime—jumping in muddy puddles (wearing her boots, of course). The album includes songs such as \u003ca href=\"https://www.youtube.com/watch?v=vJj3Ch79tNs\">“Bing Bong Zoo,”\u003c/a> \u003ca href=\"https://www.youtube.com/watch?v=fogpMbJLouo\">“The Class of Madame Gazelle”\u003c/a> and “Peppa’s Party Time.”\u003c/p>\n\u003cp>\u003cem>Peppa Pig\u003c/em> debuted in the U.K. and Australia in 2004, and has been on Nick Jr. in the U.S. for the past eight years. The cartoon was voiced by two other actors before the producers found Harley Bird (that’s her stage name).\u003c/p>\n\u003cfigure id=\"attachment_13862791\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13862791\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/peppa3_custom-8339eb1715bd5bacaa4afb957014b8ef0769a7ba.jpg\" alt=\"Harley Bird, now 17, landed the role of Peppa Pig at her first ever audition, when she was 5 years old.\" width=\"200\" height=\"264\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/peppa3_custom-8339eb1715bd5bacaa4afb957014b8ef0769a7ba.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/peppa3_custom-8339eb1715bd5bacaa4afb957014b8ef0769a7ba-160x211.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Harley Bird, now 17, landed the role of Peppa Pig at her first ever audition, when she was 5 years old. \u003ccite>(Mandalit del Barco/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gill Riley, Bird’s mom, realized her daughter had a dramatic flair, so she found an agent for her. “She was just a little quirky, little bit different and she definitely had something about her,” Riley explains.\u003c/p>\n\u003cp>Bird was just 5 when she landed the role in her first-ever audition. “I just sounded like a pig—that’s it,” says Bird. “I couldn’t really read at all—I mean, I was five.”\u003c/p>\n\u003cp>Along the way, she learned to read … and to snort like a piggy. (\u003ca href=\"https://twitter.com/Radioactive22/status/1156566381246083072\">Click here to see her switch into her Peppa voice.\u003c/a>) More than a decade later, she now has to change her voice to sound younger, higher and more kid-like. She says it’s getting to be more of a struggle, and at some point she probably won’t be able to keep it up. “My voice still is changing,” she says. “There probably will be a point when I’m going to have to pass the pig.”\u003c/p>\n\u003cp>In addition to playing Peppa, Bird has some other notable entries on her resume: She has a black belt in kickboxing, she works at the village pub and Prince William once waved to her. She’s studying for her A levels to get into university, and would like to become a casting director. Bird acted in the 2013 movie \u003cem>How I Live Now,\u003c/em> had a small part on TV’s \u003cem>Doctor Who\u003c/em> and starred in the Disney series \u003cem>So Sammy.\u003c/em> As Peppa, she won a prestigious BAFTA Award when she was just 9.\u003c/p>\n\u003cp>She seems surprised to learn that some critics \u003ca href=\"https://www.huffpost.com/entry/is-peppa-pig-fat-shaming_n_586d158ce4b0d9a5945d505c\">call out the show for fat-shaming Daddy Pig\u003c/a>. And she’s only heard bits and bobs about the news that Peppa Pig is \u003ca href=\"https://www.nytimes.com/2018/05/01/world/asia/peppa-pig-china-censors.html\">considered a subversive symbol in China\u003c/a>.\u003c/p>\n\u003cp>“I don’t really have anything to say about it,” says Bird, adding that Peppa is “such an innocent thing, that for it to be made into anything more is a tiny bit ridiculous.”\u003c/p>\n\u003cp>Bird doesn’t take her singing too seriously either, and jokes about performing at Coachella as Peppa Pig. She’s super excited about \u003ca href=\"https://twitter.com/LilNasX/status/1153377578725625856\">a shoutout she got\u003c/a> from rapper Little Nas X. “He was tweeting something about doing a collab,” she gushes. “I am so in with that. Definitely. I mean, I’m in America. Find me. Let’s collab!”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Peppa Pig’s album dropped the same day as Iggy Azalea’s, \u003ca href=\"https://twitter.com/IGGYAZALEA/status/1151060798929821696\">prompting the rapper to tweet\u003c/a> “It’s over for me now.” Peppa \u003ca href=\"https://twitter.com/peppapig/status/1151175779876790272\">tweeted back\u003c/a>: “Peppa’s so fancy, you already know.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Queue+Up+Your+Preschool+Playlist%2C+%27Peppa+Pig%27+Has+Just+Dropped+%27My+First+Album%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Secret Obsession': Six Unforgettable Lessons From Netflix's Imperiled Amnesiac",
"headTitle": "‘Secret Obsession’: Six Unforgettable Lessons From Netflix’s Imperiled Amnesiac | KQED",
"content": "\u003cp>By way of introduction, I should say that I would normally be more hesitant about spoilers than I am about to be with the Netflix film \u003cem>Secret Obsession\u003c/em>, except for two things. The first is that \u003ca href=\"https://www.youtube.com/watch?v=Nc6loZU3kjQ\">the trailer\u003c/a> gives away basically everything that happens in the movie (which has been available for a week already). The second is that they called it \u003cem>Secret Obsession\u003c/em>, so, I mean, they’re kind of giving away the ballgame. It’s not called \u003cem>Nice Marriage\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Nc6loZU3kjQ\u003c/p>\n\u003cp>Said ballgame begins with a sequence in which a woman played by Brenda Song attempts to evade a creepy man in a hood who is wielding a knife. This all happens at night, in the pouring rain, at a deserted rest stop, where the most remarkable feature is an actual Superman-style phone booth. The better, you see, for this woman to call 911 only to hear the distinctive three-tone sequence that means the number is disconnected. So apparently 911 moved. Or changed their number.\u003c/p>\n\u003cp>But wait. 911 can’t change their number! They’re 911!\u003c/p>\n\u003cp>Anyway, when Creepy Hood Man approaches, this poor woman must run inside and hide in the bathrooms.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Lesson #1: You must control your terrified gasping.\u003c/strong>\u003c/p>\n\u003cp>It’s possible that Jennifer (for this is Brenda’s character’s name, as we will soon discover) would have evaded CHM, except that as she is hiding in a stall as CHM tries to hunt her, he makes a noise and she gasps extremely loudly. This is a comedic gasp, which may as well be accompanied by a comic-book word bubble that just says “GASP!” Never do that when you are hiding from a Creepy Hood Man. This gives up her location. Now he knows she’s in there!\u003c/p>\n\u003cp>At any rate, she is bad at hiding and eventually must run back outside to get away from him. She gets in her car, only to discover it is winched to his truck and she cannot escape. He is using a winch! This is a winch hunt! She gets out and makes a run for it, at which point she is hit by a car. (Not driven by CHM. Just driven by Some Dude.) Fortunately, the driver of the car calls an ambulance, and she is taken to Gross Negligence Memorial Hospital.\u003c/p>\n\u003cp>At Gross Negligence Memorial Hospital, a man with glasses and a beard comes to visit her. He behaves as her husband; they address him as her husband. If you have seen the trailer, you know perfectly well that he is not her husband. He is, instead, a weirdo. Why is he pretending to be her husband? Could it be that he has a …\u003c/p>\n\u003cp>SECRET OBSESSION?\u003c/p>\n\u003cp>When Jennifer wakes up, this man (who calls himself “Russell Williams”) explains that everything is fine. She doesn’t remember that she is married to him, or that she has ever met him, or that she’s ever met anyone else, or that she ever had a job where someone might know her, or anything of that nature. She has no memories of anything that has ever happened to her, but he assures her he can just catch her up, like she’s reading the Wikipedia plot summary of her own life. For instance, he tells her a funny anecdote about how he had an allergic reaction once, and she laughs, ho-ho-ho, because it must have been very funny, this thing that happened one time to this man who definitely seems like her husband.\u003c/p>\n\u003cp>It bears mention that somewhere along here, there is also a very menacing man with a much darker beard than “Russell Williams” has. He appears at the hospital with flowers, and when the nurse asks who he is, he says he’s a “concerned party.” Russell eyes him suspiciously. One weirdo to a waiting room, friend! Back to him later.\u003c/p>\n\u003cp>\u003cstrong>Lesson #2: Don’t get all the amnesia. \u003c/strong>\u003c/p>\n\u003cp>What is remarkable about Russell’s plan (well, Fake Russell’s plan) is that none of this would work if she didn’t have precisely this much amnesia. He somehow knew, when he came to the hospital before she was conscious, that when she awoke, she would not open her eyes and say, “Are you kidding me? This is not my husband. This is a weirdo of my acquaintance!” Instead, she would say, “Oh. I am married to you? Interesting. That seems fine.”\u003c/p>\n\u003cp>What’s more, he somehow knew Gross Negligence Memorial Hospital would release her to him partly because—and they explain this later—he was able to identify her back tattoo.\u003c/p>\n\u003cp>I’m sorry, you gave her to a dude because he knew about \u003cem>her back tattoo\u003c/em>? You are so getting sued, you guys! Has this hospital heard of Instagram? That’s half of the reason people get back tattoos! If you can pick up anybody in the hospital by identifying their back tattoo, you could drive to Florida during spring break and bring home an entire lacrosse team.\u003c/p>\n\u003cp>Fortunately, Jennifer has one worthy ally: Detective Page, played by Dennis Haysbert. Yes, Dennis Haysbert! From \u003cem>24 \u003c/em>and commercials for insurance! He is not convinced that this was a simple car accident (remember, nobody knows why Jennifer ran out in front of the car, because she doesn’t remember anything, including the Menaced In The Bathroom incident). He thinks there’s something weird going on.\u003c/p>\n\u003cp>YOU THINK?\u003c/p>\n\u003cp>\u003cstrong>Lesson #3: Don’t be seduced by the accommodations. \u003c/strong>\u003c/p>\n\u003cp>Fake Russell manages to remove Jennifer from the hospital, and by the time they leave, he has her fully convinced he’s her loving husband. After all, he has a silver cigarette lighter engraved, “To my darling Russell, love Jennifer.” (You know how hot young millennials are always giving each other engraved silver cigarette lighters. Tally ho!)\u003c/p>\n\u003cp>Jennifer would probably object that she has literally never seen this place before and has no memory of it and doesn’t seem to have any belongings here and he isn’t allowing her to speak to anyone, but fortunately for Evil Fake Russell, it’s a really nice house, which papers over a lot of concerns she might otherwise have. Such as, you know, the fact that she has no reason to believe she knows this man, let alone is married to him. The house is in the woods, where, as he tells her, “The nearest neighbor is over a mile away.” There is also no cell phone reception, which seems \u003cem>extremely \u003c/em>unlikely for a fancypants residence, no matter how deep in the woods.\u003c/p>\n\u003cp>In fairness to Jennifer—no, really!—at least when she gets to the house, she’s confronted by more photos that are of her and Fake Russell together. There’s even a wedding picture where she looks very happy. So at least she has some reason to believe him. Not a great reason, but some reason.\u003c/p>\n\u003cp>The one thing that should have made Jennifer suspicious is the sheer amount of eggs that he feeds her when allegedly giving her the breakfast she loves the most. He piles scrambled eggs onto a plate and says, “Eggs, scrambled soft, just like you like them.” But … it’s a \u003cem>mountain \u003c/em>of eggs. It’s probably five or six eggs’ worth of eggs, just sitting there on a plate with nothing else. It’s not that nobody eats this many scrambled eggs, but it seems like he would give a little more background. Like, “Eggs, scrambled soft, just like you like them right before you run the New York City Marathon.”\u003c/p>\n\u003cp>There’s also a very peculiar exchange where he says, “Orange juice?” And she gets a lightning-bolt expression on her face and says, “Fresh squeezed?” as if this is a breakthrough. He smiles warmly. “I’m right, aren’t I?” she says. “There it is,” he chuckles. “See? I told you it would all come back.”\u003c/p>\n\u003cp>The question is … right about what? What is she right about? That she likes fresh-squeezed juice? That juice comes from fruit? This would have made more sense if he had said, “Orange juice?” and she had paused and said, “But … I only drink Tang. I’m right, aren’t I?”\u003c/p>\n\u003cp>\u003cstrong>Lesson #4: Don’t be too popular. \u003c/strong>\u003c/p>\n\u003cp>Somewhere along here, Fake Russell follows Dark Beard (a/k/a “a concerned party”) home, beats him, snaps his neck, stuffs him in the Jeep, brings him back to No Reception Hall, and buries him in the backyard. Jennifer is vaguely aware of some shoveling happening in the middle of the night, but she figures it must be nothing, because apparently her form of amnesia also saps your curiosity.\u003c/p>\n\u003cp>To my knowledge, by the way, we never figure out who this guy was, why he was looking for Jennifer, or why nobody ever seems curious about where he went. Also not missed by anyone? Jennifer’s parents, whom Detective Page eventually finds in their home, in their bed, very much not alive.\u003c/p>\n\u003cp>Does Jennifer have friends? An online presence? Is anyone looking for her? Did she have a job? Furthermore, is anyone looking for Jennifer’s actual husband? Because, not to jump too far ahead, but as much as it would be nice to think Jennifer’s husband is looking worriedly for her somewhere, it turns out he is in the trunk of a car in Fake Russell’s garage, very much also not alive.\u003c/p>\n\u003cp>This situation seems to persist for some time (although Jennifer’s parents are discovered in a substantially more advanced state of bodily transformation than True Russell The Trunk-Dweller, so a timeline is difficult to pin down). Nevertheless, nobody else figures out that Fake Russell has killed four people, nor has anyone put together that both the parents and the husband of the same woman have vanished, and that woman looks a lot like \u003cem>another \u003c/em>woman who turned up with amnesia at Gross Negligence Memorial Hospital. The only thing being investigated, out of all of this, is Jennifer getting hit by a car.\u003c/p>\n\u003cp>Put the clues together, police! Detective Page can’t do everything by himself.\u003c/p>\n\u003cp>\u003cstrong>Lesson #5: Prepare yourself.\u003c/strong>\u003c/p>\n\u003cp>Eventually, Jennifer does realize that this is not her husband. He is a weirdo! He has digitally inserted himself into photos of her and True Russell, and she really needs to get out of there. But she has a bad ankle, so her ability to flee is limited, and it doesn’t help that Fake Russell has, based on the appearance of the wires, chewed through the internet connection, and because there’s also no phone reception, she’s in quite a bind.\u003c/p>\n\u003cp>Furthermore, it’s not long before Fake Russell realizes that she’s onto him, at which point he transforms from covertly menacing to overtly menacing and chains her to the bed while he goes to prevent Detective Page from finding her by any means necessary. He does this by clocking Detective Page and throwing him in a freezer.\u003c/p>\n\u003cp>She frees herself from her restraints by wiggling (THOSE ARE BAD RESTRAINTS, FAKE RUSSELL!), but she does hurt herself in the process. So later, when he returns and regains control over her, he makes her promise to “stay off it” (her ankle) by grabbing her foot and twisting it while it makes hilarious crunching and squishing noises that represent great pain. She gives in. She’ll do what he wants! Just stop crushing those barbecue potato chips in front of that microphone!\u003c/p>\n\u003cp>The only good piece of news in this entire movie comes at about this point, when we realize that Detective Page is not dead! He is just unconscious in a freezer.\u003c/p>\n\u003cp>\u003cstrong>Lesson #6: Move on. \u003c/strong>\u003c/p>\n\u003cp>As you can imagine, all this leads to a “thrilling” climax in which Jennifer and Detective Page survive and Fake Russell does not. Later, we find Page cleaning out all the toys he’s hoarded for his own daughter, who disappeared when she was ten and was never found. You see, saving Jennifer from the world’s most unlikely kidnapping has freed him to move on from his own demons. And now Jennifer is going to do the same. She’s pretty chipper, in fact, given that she recently had to kill a guy who killed both her husband and her parents. (And Dark Beard, whoever he was. Did anyone ever find him out in the backyard? I don’t think so. RIP, Dark Beard.)\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Netflix has been going through all the cable TV genres and trying to elbow its way into them, one at a time. Hallmark movies, Nat Geo Wild vet shows, Food Network food competitions, comedy specials, travel specials … it makes sense that here, they’re right in the heart of Imperiled Lady Theater. This is a pretty bad movie, but it seems to be bad in the way it’s meant to be bad. It’s cheerfully trashy, and if that’s up your alley, have at it.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Secret+Obsession%27%3A+Six+Unforgettable+Lessons+From+Netflix%27s+Imperiled+Amnesiac&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "Brenda Song stars in Netflix's version of the Woman In Danger thriller, in which she is sent home with a stranger by the worst hospital in the world. Unintentional hilarity ensues.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>By way of introduction, I should say that I would normally be more hesitant about spoilers than I am about to be with the Netflix film \u003cem>Secret Obsession\u003c/em>, except for two things. The first is that \u003ca href=\"https://www.youtube.com/watch?v=Nc6loZU3kjQ\">the trailer\u003c/a> gives away basically everything that happens in the movie (which has been available for a week already). The second is that they called it \u003cem>Secret Obsession\u003c/em>, so, I mean, they’re kind of giving away the ballgame. It’s not called \u003cem>Nice Marriage\u003c/em>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Nc6loZU3kjQ'\n title='//www.youtube.com/embed/Nc6loZU3kjQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Said ballgame begins with a sequence in which a woman played by Brenda Song attempts to evade a creepy man in a hood who is wielding a knife. This all happens at night, in the pouring rain, at a deserted rest stop, where the most remarkable feature is an actual Superman-style phone booth. The better, you see, for this woman to call 911 only to hear the distinctive three-tone sequence that means the number is disconnected. So apparently 911 moved. Or changed their number.\u003c/p>\n\u003cp>But wait. 911 can’t change their number! They’re 911!\u003c/p>\n\u003cp>Anyway, when Creepy Hood Man approaches, this poor woman must run inside and hide in the bathrooms.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Lesson #1: You must control your terrified gasping.\u003c/strong>\u003c/p>\n\u003cp>It’s possible that Jennifer (for this is Brenda’s character’s name, as we will soon discover) would have evaded CHM, except that as she is hiding in a stall as CHM tries to hunt her, he makes a noise and she gasps extremely loudly. This is a comedic gasp, which may as well be accompanied by a comic-book word bubble that just says “GASP!” Never do that when you are hiding from a Creepy Hood Man. This gives up her location. Now he knows she’s in there!\u003c/p>\n\u003cp>At any rate, she is bad at hiding and eventually must run back outside to get away from him. She gets in her car, only to discover it is winched to his truck and she cannot escape. He is using a winch! This is a winch hunt! She gets out and makes a run for it, at which point she is hit by a car. (Not driven by CHM. Just driven by Some Dude.) Fortunately, the driver of the car calls an ambulance, and she is taken to Gross Negligence Memorial Hospital.\u003c/p>\n\u003cp>At Gross Negligence Memorial Hospital, a man with glasses and a beard comes to visit her. He behaves as her husband; they address him as her husband. If you have seen the trailer, you know perfectly well that he is not her husband. He is, instead, a weirdo. Why is he pretending to be her husband? Could it be that he has a …\u003c/p>\n\u003cp>SECRET OBSESSION?\u003c/p>\n\u003cp>When Jennifer wakes up, this man (who calls himself “Russell Williams”) explains that everything is fine. She doesn’t remember that she is married to him, or that she has ever met him, or that she’s ever met anyone else, or that she ever had a job where someone might know her, or anything of that nature. She has no memories of anything that has ever happened to her, but he assures her he can just catch her up, like she’s reading the Wikipedia plot summary of her own life. For instance, he tells her a funny anecdote about how he had an allergic reaction once, and she laughs, ho-ho-ho, because it must have been very funny, this thing that happened one time to this man who definitely seems like her husband.\u003c/p>\n\u003cp>It bears mention that somewhere along here, there is also a very menacing man with a much darker beard than “Russell Williams” has. He appears at the hospital with flowers, and when the nurse asks who he is, he says he’s a “concerned party.” Russell eyes him suspiciously. One weirdo to a waiting room, friend! Back to him later.\u003c/p>\n\u003cp>\u003cstrong>Lesson #2: Don’t get all the amnesia. \u003c/strong>\u003c/p>\n\u003cp>What is remarkable about Russell’s plan (well, Fake Russell’s plan) is that none of this would work if she didn’t have precisely this much amnesia. He somehow knew, when he came to the hospital before she was conscious, that when she awoke, she would not open her eyes and say, “Are you kidding me? This is not my husband. This is a weirdo of my acquaintance!” Instead, she would say, “Oh. I am married to you? Interesting. That seems fine.”\u003c/p>\n\u003cp>What’s more, he somehow knew Gross Negligence Memorial Hospital would release her to him partly because—and they explain this later—he was able to identify her back tattoo.\u003c/p>\n\u003cp>I’m sorry, you gave her to a dude because he knew about \u003cem>her back tattoo\u003c/em>? You are so getting sued, you guys! Has this hospital heard of Instagram? That’s half of the reason people get back tattoos! If you can pick up anybody in the hospital by identifying their back tattoo, you could drive to Florida during spring break and bring home an entire lacrosse team.\u003c/p>\n\u003cp>Fortunately, Jennifer has one worthy ally: Detective Page, played by Dennis Haysbert. Yes, Dennis Haysbert! From \u003cem>24 \u003c/em>and commercials for insurance! He is not convinced that this was a simple car accident (remember, nobody knows why Jennifer ran out in front of the car, because she doesn’t remember anything, including the Menaced In The Bathroom incident). He thinks there’s something weird going on.\u003c/p>\n\u003cp>YOU THINK?\u003c/p>\n\u003cp>\u003cstrong>Lesson #3: Don’t be seduced by the accommodations. \u003c/strong>\u003c/p>\n\u003cp>Fake Russell manages to remove Jennifer from the hospital, and by the time they leave, he has her fully convinced he’s her loving husband. After all, he has a silver cigarette lighter engraved, “To my darling Russell, love Jennifer.” (You know how hot young millennials are always giving each other engraved silver cigarette lighters. Tally ho!)\u003c/p>\n\u003cp>Jennifer would probably object that she has literally never seen this place before and has no memory of it and doesn’t seem to have any belongings here and he isn’t allowing her to speak to anyone, but fortunately for Evil Fake Russell, it’s a really nice house, which papers over a lot of concerns she might otherwise have. Such as, you know, the fact that she has no reason to believe she knows this man, let alone is married to him. The house is in the woods, where, as he tells her, “The nearest neighbor is over a mile away.” There is also no cell phone reception, which seems \u003cem>extremely \u003c/em>unlikely for a fancypants residence, no matter how deep in the woods.\u003c/p>\n\u003cp>In fairness to Jennifer—no, really!—at least when she gets to the house, she’s confronted by more photos that are of her and Fake Russell together. There’s even a wedding picture where she looks very happy. So at least she has some reason to believe him. Not a great reason, but some reason.\u003c/p>\n\u003cp>The one thing that should have made Jennifer suspicious is the sheer amount of eggs that he feeds her when allegedly giving her the breakfast she loves the most. He piles scrambled eggs onto a plate and says, “Eggs, scrambled soft, just like you like them.” But … it’s a \u003cem>mountain \u003c/em>of eggs. It’s probably five or six eggs’ worth of eggs, just sitting there on a plate with nothing else. It’s not that nobody eats this many scrambled eggs, but it seems like he would give a little more background. Like, “Eggs, scrambled soft, just like you like them right before you run the New York City Marathon.”\u003c/p>\n\u003cp>There’s also a very peculiar exchange where he says, “Orange juice?” And she gets a lightning-bolt expression on her face and says, “Fresh squeezed?” as if this is a breakthrough. He smiles warmly. “I’m right, aren’t I?” she says. “There it is,” he chuckles. “See? I told you it would all come back.”\u003c/p>\n\u003cp>The question is … right about what? What is she right about? That she likes fresh-squeezed juice? That juice comes from fruit? This would have made more sense if he had said, “Orange juice?” and she had paused and said, “But … I only drink Tang. I’m right, aren’t I?”\u003c/p>\n\u003cp>\u003cstrong>Lesson #4: Don’t be too popular. \u003c/strong>\u003c/p>\n\u003cp>Somewhere along here, Fake Russell follows Dark Beard (a/k/a “a concerned party”) home, beats him, snaps his neck, stuffs him in the Jeep, brings him back to No Reception Hall, and buries him in the backyard. Jennifer is vaguely aware of some shoveling happening in the middle of the night, but she figures it must be nothing, because apparently her form of amnesia also saps your curiosity.\u003c/p>\n\u003cp>To my knowledge, by the way, we never figure out who this guy was, why he was looking for Jennifer, or why nobody ever seems curious about where he went. Also not missed by anyone? Jennifer’s parents, whom Detective Page eventually finds in their home, in their bed, very much not alive.\u003c/p>\n\u003cp>Does Jennifer have friends? An online presence? Is anyone looking for her? Did she have a job? Furthermore, is anyone looking for Jennifer’s actual husband? Because, not to jump too far ahead, but as much as it would be nice to think Jennifer’s husband is looking worriedly for her somewhere, it turns out he is in the trunk of a car in Fake Russell’s garage, very much also not alive.\u003c/p>\n\u003cp>This situation seems to persist for some time (although Jennifer’s parents are discovered in a substantially more advanced state of bodily transformation than True Russell The Trunk-Dweller, so a timeline is difficult to pin down). Nevertheless, nobody else figures out that Fake Russell has killed four people, nor has anyone put together that both the parents and the husband of the same woman have vanished, and that woman looks a lot like \u003cem>another \u003c/em>woman who turned up with amnesia at Gross Negligence Memorial Hospital. The only thing being investigated, out of all of this, is Jennifer getting hit by a car.\u003c/p>\n\u003cp>Put the clues together, police! Detective Page can’t do everything by himself.\u003c/p>\n\u003cp>\u003cstrong>Lesson #5: Prepare yourself.\u003c/strong>\u003c/p>\n\u003cp>Eventually, Jennifer does realize that this is not her husband. He is a weirdo! He has digitally inserted himself into photos of her and True Russell, and she really needs to get out of there. But she has a bad ankle, so her ability to flee is limited, and it doesn’t help that Fake Russell has, based on the appearance of the wires, chewed through the internet connection, and because there’s also no phone reception, she’s in quite a bind.\u003c/p>\n\u003cp>Furthermore, it’s not long before Fake Russell realizes that she’s onto him, at which point he transforms from covertly menacing to overtly menacing and chains her to the bed while he goes to prevent Detective Page from finding her by any means necessary. He does this by clocking Detective Page and throwing him in a freezer.\u003c/p>\n\u003cp>She frees herself from her restraints by wiggling (THOSE ARE BAD RESTRAINTS, FAKE RUSSELL!), but she does hurt herself in the process. So later, when he returns and regains control over her, he makes her promise to “stay off it” (her ankle) by grabbing her foot and twisting it while it makes hilarious crunching and squishing noises that represent great pain. She gives in. She’ll do what he wants! Just stop crushing those barbecue potato chips in front of that microphone!\u003c/p>\n\u003cp>The only good piece of news in this entire movie comes at about this point, when we realize that Detective Page is not dead! He is just unconscious in a freezer.\u003c/p>\n\u003cp>\u003cstrong>Lesson #6: Move on. \u003c/strong>\u003c/p>\n\u003cp>As you can imagine, all this leads to a “thrilling” climax in which Jennifer and Detective Page survive and Fake Russell does not. Later, we find Page cleaning out all the toys he’s hoarded for his own daughter, who disappeared when she was ten and was never found. You see, saving Jennifer from the world’s most unlikely kidnapping has freed him to move on from his own demons. And now Jennifer is going to do the same. She’s pretty chipper, in fact, given that she recently had to kill a guy who killed both her husband and her parents. (And Dark Beard, whoever he was. Did anyone ever find him out in the backyard? 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Well, if Tom Hanks playing Mr. Rogers doesn’t get your week off to the right start, I don’t know what will.\u003c/p>\n\u003cp>In the trailer for \u003cem>A Beautiful Day in the Neighborhood\u003c/em>, released this morning, Hanks plays Fred Rogers in all his wholesome glory—complimenting strangers on the subway, discussing the complexity of feelings, and yes, tossing his shoe from one hand to the other.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/-VLEPhfEN2M'\n title='//www.youtube.com/embed/-VLEPhfEN2M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The film is released Thanksgiving 2019. In the meantime, catch up on \u003ca href=\"https://www.kqed.org/news/11756665/5-things-you-didnt-know-about-tom-hanks-east-bay-roots\" rel=\"noopener\" target=\"_blank\">all of Tom Hanks’ East Bay roots\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>BISBEE, Ariz. (AP) — The darkest, most violent chapter in the history of Bisbee was an open secret for decades in the funky old Arizona copper town 7 miles (11 kilometers) north of the U.S.-Mexico border.\u003c/p>\n\u003cp>But few residents knew the details of how about 1,200 miners, most of them immigrants, were pulled violently from their homes a century ago by a private police force and put on cattle cars for their deportation to a desolate area of New Mexico.\u003c/p>\n\u003cp>The filming of “Bisbee ’17,” a documentary about what happened July 12, 1917, was a history lesson for residents recruited to play historical figures in the production filmed exactly 100 years later that weds documentary and collective performance. It is, at turns, a Western, a musical and a ghost story.\u003c/p>\n\u003cp>https://youtu.be/XSs599e3yZ4\u003c/p>\n\u003cp>The film mixes the town’s past and present, the residents dressed in period clothing but moving through present-day Bisbee. Newly deputized strikebreakers with ancient guns stand in a classroom complete with an overhead projector and modern light figures. “Enjoy the AC while you’ve got it!” a man standing at the front of a modern bus tells residents dressed as miners as they travel to the rail cars for their deportation.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After premiering last year at the Sundance Film Festival, “Bisbee ’17” will be nationally broadcast for the first time Monday night on the PBS documentary series POV. In Arizona, it will be shown at 9 p.m.\u003c/p>\n\u003cp>It’s the sixth film for director Robert Greene, filmmaker-in-chief for the Murray Center for Documentary Journalism at the University of Missouri. A previous film “Kate Plays Christine” won a Jury Award for Writing at Sundance 2016. “Owning The Weather,” his first documentary, was screened at the COP15 Climate Change Conference in Copenhagen.\u003c/p>\n\u003cp>Greene said he learned of the town of Bisbee around 15 years ago when he first visited southeastern Arizona to help his then-future mother-in-law fix up an old cabin.\u003c/p>\n\u003cp>“I completely fell in love with the town,” Greene said of the quirky community of old hippies, immigrants, biker mechanics and descendants of miners and company executives. The town today leans to the political left and has an active cultural scene that includes live theatre. It features Victorian-style houses built on hilly terrain, along with other architectural gems. The gaping hole at Bisbee’s edge that was once the Lavender Pit copper mine is a constant reminder the area’s mining history.\u003c/p>\n\u003cp>Greene said he started thinking of ways to make a film about the Bisbee deportation shortly after learning about it. As the 100th anniversary approached two years ago, he said, “we knew it was time.”\u003c/p>\n\u003cp>The documentary tells how the bosses at the Phelps Dodge copper mining operation feared a strike by miners who sympathized with the “Wobblies,” members of the radical Industrial Workers of the World.\u003c/p>\n\u003cfigure id=\"attachment_13861357\" class=\"wp-caption alignleft\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13861357\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/Bisbee-4th-Row-2.jpeg\" alt=\"Town residents dressed in period costume stand in a modern day classroom in "Bisbee '17," as they re-enact the deputizing of a private police force that broke up a brewing strike at a copper mine on July 12, 1917.\" width=\"1000\" height=\"562\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Bisbee-4th-Row-2.jpeg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Bisbee-4th-Row-2-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Bisbee-4th-Row-2-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Bisbee-4th-Row-2-768x432.jpeg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Town residents dressed in period costume stand in a modern day classroom in “Bisbee ’17,” as they re-enact the deputizing of a private police force that broke up a brewing strike at a copper mine on July 12, 1917. \u003ccite>(Jarred Alterman/4th Row Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The U.S. had just entered World War I, and company executives worried that foreign-born miners would try to hamper the war effort.\u003c/p>\n\u003cp>Working with mining bosses, the local sheriff hastily deputized about 2,000 strikebreakers to round up about 1,200 miners, mostly immigrants from Mexico and eastern Europe. They were led by gunpoint to the baseball field in the nearby community of Warren, locked inside train cars and shipped off to Hermanas, New Mexico.\u003c/p>\n\u003cp>The narrative emerges through the residents’ personal stories: a woman whose grandfather deported his brother; a former mining company boss who remains convinced the deportation was justified; and Fernando Serrano, 23, whose mother had been deported back to her native Mexico and jailed on drug charges.\u003c/p>\n\u003cp>Viewers watch Serrano undergo a political awakening as he plays the role of a Mexican miner, singing the Spanish-language version of the union anthem “Solidarity Forever” to the tune of the “Battle Hymn of the Republic.”\u003c/p>\n\u003cp>While exorcising the demons of Bisbee’s past, the townspeople make a statement about today’s treatment of marginalized people, the filmmaker said.\u003c/p>\n\u003cp>“You cannot keep from what is happening at the border when you watch the film,” said Greene, referring to the chaos that has erupted along the U.S.-Mexico border as the Trump administration seeks to keep out a wave of asylum-seekers, mostly from Central America.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It echoes other moments in our nation’s history when fear was used to motivate opposition,” he said.\u003c/p>\n\u003cdiv id=\"ntv1097657-0-14501\" class=\"FeedCard WireStory with-image ntv-feed ntv1097657-0-14501 ntvClickOut\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>BISBEE, Ariz. (AP) — The darkest, most violent chapter in the history of Bisbee was an open secret for decades in the funky old Arizona copper town 7 miles (11 kilometers) north of the U.S.-Mexico border.\u003c/p>\n\u003cp>But few residents knew the details of how about 1,200 miners, most of them immigrants, were pulled violently from their homes a century ago by a private police force and put on cattle cars for their deportation to a desolate area of New Mexico.\u003c/p>\n\u003cp>The filming of “Bisbee ’17,” a documentary about what happened July 12, 1917, was a history lesson for residents recruited to play historical figures in the production filmed exactly 100 years later that weds documentary and collective performance. It is, at turns, a Western, a musical and a ghost story.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/XSs599e3yZ4'\n title='//www.youtube.com/embed/XSs599e3yZ4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The film mixes the town’s past and present, the residents dressed in period clothing but moving through present-day Bisbee. Newly deputized strikebreakers with ancient guns stand in a classroom complete with an overhead projector and modern light figures. “Enjoy the AC while you’ve got it!” a man standing at the front of a modern bus tells residents dressed as miners as they travel to the rail cars for their deportation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After premiering last year at the Sundance Film Festival, “Bisbee ’17” will be nationally broadcast for the first time Monday night on the PBS documentary series POV. In Arizona, it will be shown at 9 p.m.\u003c/p>\n\u003cp>It’s the sixth film for director Robert Greene, filmmaker-in-chief for the Murray Center for Documentary Journalism at the University of Missouri. A previous film “Kate Plays Christine” won a Jury Award for Writing at Sundance 2016. “Owning The Weather,” his first documentary, was screened at the COP15 Climate Change Conference in Copenhagen.\u003c/p>\n\u003cp>Greene said he learned of the town of Bisbee around 15 years ago when he first visited southeastern Arizona to help his then-future mother-in-law fix up an old cabin.\u003c/p>\n\u003cp>“I completely fell in love with the town,” Greene said of the quirky community of old hippies, immigrants, biker mechanics and descendants of miners and company executives. The town today leans to the political left and has an active cultural scene that includes live theatre. It features Victorian-style houses built on hilly terrain, along with other architectural gems. The gaping hole at Bisbee’s edge that was once the Lavender Pit copper mine is a constant reminder the area’s mining history.\u003c/p>\n\u003cp>Greene said he started thinking of ways to make a film about the Bisbee deportation shortly after learning about it. As the 100th anniversary approached two years ago, he said, “we knew it was time.”\u003c/p>\n\u003cp>The documentary tells how the bosses at the Phelps Dodge copper mining operation feared a strike by miners who sympathized with the “Wobblies,” members of the radical Industrial Workers of the World.\u003c/p>\n\u003cfigure id=\"attachment_13861357\" class=\"wp-caption alignleft\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13861357\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/Bisbee-4th-Row-2.jpeg\" alt=\"Town residents dressed in period costume stand in a modern day classroom in "Bisbee '17," as they re-enact the deputizing of a private police force that broke up a brewing strike at a copper mine on July 12, 1917.\" width=\"1000\" height=\"562\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Bisbee-4th-Row-2.jpeg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Bisbee-4th-Row-2-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Bisbee-4th-Row-2-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Bisbee-4th-Row-2-768x432.jpeg 768w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Town residents dressed in period costume stand in a modern day classroom in “Bisbee ’17,” as they re-enact the deputizing of a private police force that broke up a brewing strike at a copper mine on July 12, 1917. \u003ccite>(Jarred Alterman/4th Row Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The U.S. had just entered World War I, and company executives worried that foreign-born miners would try to hamper the war effort.\u003c/p>\n\u003cp>Working with mining bosses, the local sheriff hastily deputized about 2,000 strikebreakers to round up about 1,200 miners, mostly immigrants from Mexico and eastern Europe. They were led by gunpoint to the baseball field in the nearby community of Warren, locked inside train cars and shipped off to Hermanas, New Mexico.\u003c/p>\n\u003cp>The narrative emerges through the residents’ personal stories: a woman whose grandfather deported his brother; a former mining company boss who remains convinced the deportation was justified; and Fernando Serrano, 23, whose mother had been deported back to her native Mexico and jailed on drug charges.\u003c/p>\n\u003cp>Viewers watch Serrano undergo a political awakening as he plays the role of a Mexican miner, singing the Spanish-language version of the union anthem “Solidarity Forever” to the tune of the “Battle Hymn of the Republic.”\u003c/p>\n\u003cp>While exorcising the demons of Bisbee’s past, the townspeople make a statement about today’s treatment of marginalized people, the filmmaker said.\u003c/p>\n\u003cp>“You cannot keep from what is happening at the border when you watch the film,” said Greene, referring to the chaos that has erupted along the U.S.-Mexico border as the Trump administration seeks to keep out a wave of asylum-seekers, mostly from Central America.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It echoes other moments in our nation’s history when fear was used to motivate opposition,” he said.\u003c/p>\n\u003cdiv id=\"ntv1097657-0-14501\" class=\"FeedCard WireStory with-image ntv-feed ntv1097657-0-14501 ntvClickOut\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Alaska Native Girl Leads Animated Kids TV Show in U.S. First",
"headTitle": "Alaska Native Girl Leads Animated Kids TV Show in U.S. First | KQED",
"content": "\u003cp>Princess Daazhraii Johnson grew up eating dried salmon and moose-head soup — foods labeled weird by other kids who had no understanding of her culture and traditions.\u003c/p>\n\u003cp>Now the Fairbanks woman and other Alaska Natives are presenting their world to a general audience with “Molly of Denali,” the nation’s first-ever children’s series featuring indigenous leads.\u003c/p>\n\u003cp>The animated show, which premieres July 15 on PBS Kids, highlights the adventures of a 10-year-old Athabascan girl, Molly Mabray. Her family owns the Denali Trading Post in the fictitious community of Qyah, whose residents are both Native and non-Native.\u003c/p>\n\u003cp>“We have an opportunity with this show, with ‘Molly of Denali,’ to inform and to show us in a positive and respectful light,” says Johnson, creative producer of the series and a member of an Athabascan group, Neets’aii Gwich’in.\u003c/p>\n\u003cp>Her family has roots in Arctic Village, Alaska, but she grew up all over the state, she says, including summers spent with her grandmother in the Gwich’in village of Fort Yukon.\u003c/p>\n\u003cp>Native Americans voice the indigenous characters in the series, which is co-produced by Boston-based WGBH and animation partner Atomic Cartoons in collaboration with Alaska Native advisers and scriptwriters.\u003c/p>\n\u003cp>Molly is voiced by 14-year-old Sovereign Bill of Auburn, Washington. Bill, who auditioned for the role after hearing about it through a Seattle-based Native youth theater group, is a member of the Muckleshoot Indian tribe in Washington and the T’ak Dein Taan clan of the Tlingit tribe from the southeast Alaska community of Hoonah.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"'Molly of Denali,' about an Athabascan girl in Alaska, premieres on PBS Kids\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/oXTjRliNcEA?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Bill said her mother was deeply touched by one of the stories in the hourlong premiere: a look at Molly’s grandfather, who left his traditional drum with a friend way back in his youth. Molly goes on to find the friend and drum in another community, using clues in an old photo of her grandfather and his friend to search the internet.\u003c/p>\n\u003cp>It turns out the grandfather had given up singing along with the drum after he was sent away — as scores of Native children once were — to boarding school, where students were prohibited from practicing their tribal songs amid language suppression efforts. The story ends with the grandfather reconnecting with those cherished traditions.\u003c/p>\n\u003cfigure id=\"attachment_13860892\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13860892\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/800-molly-pbs-2.jpeg\" alt='This image released by PBS shows characters Molly, voiced by Sovereign Bill, left, and her mother, voiced by Jules Koostachin in a scene from the animated series \"Molly of Denali.\" The animated show, which highlights the adventures of a 10-year-old Athabascan girl, Molly Mabray, premieres July 15 on PBS Kids. ' width=\"800\" height=\"381\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/800-molly-pbs-2.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/800-molly-pbs-2-160x76.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/800-molly-pbs-2-768x366.jpeg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">This image released by PBS shows characters Molly, voiced by Sovereign Bill, left, and her mother, voiced by Jules Koostachin in a scene from the animated series “Molly of Denali.” The animated show, which highlights the adventures of a 10-year-old Athabascan girl, Molly Mabray, premieres July 15 on PBS Kids. \u003ccite>(PBS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bill said her maternal grandmother also had been sent away to boarding school. Given her family’s background, Bill’s mother was nearly brought to tears because of the story’s “good message,” the teen said.\u003c/p>\n\u003cp>“It’s able to pass on that message through a kind and loving and kid-friendly way,” she said. “But it’s still teaching and it’s still giving those important values.”\u003c/p>\n\u003cp>As for Johnson’s childhood food favorites, dried fish makes an appearance in the show. What about moose-head soup? “Not yet,” Johnson says with a laugh.\u003c/p>\n\u003cp>Following the longer premiere, the 30-minute show will run mornings seven days a week, according to WGBH executive producer Dorothea Gillim. PBS ordered 38 half-hour episodes besides the premiere, with 13 episodes set for the first rotation.\u003c/p>\n\u003cp>Each episode also includes a short video featuring real Alaska Native children living life in a vast state populated by multiple Native groups with their own diverse cultures and languages.\u003c/p>\n\u003cp>Gillim said she long wanted to do a show featuring a store that’s a social center for locals, like a local store of the Rochester, New York-based Wegmans grocery chain was for her growing up in that city. And WGBH co-creator Kathy Waugh always wanted to do one on an outdoorsy girl. The store became a trading post when the creators decided to place it in Alaska after hearing that then-President Barack Obama visited the state in 2015.\u003c/p>\n\u003cp>PBS gave the green light for a pilot on the concept. That prompted the non-Native creators to reach out to indigenous experts in Alaska, creating a team of cultural advisers for the pilot and, ultimately, the series.\u003c/p>\n\u003cp>“We knew immediately that we needed to partner with Alaska Natives to develop it so that it was truly authentic,” Gillim said.\u003c/p>\n\u003cfigure id=\"attachment_13860893\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13860893\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/800.jpeg\" alt='This image released by PBS shows characters, from right, Molly, voiced by Sovereign Bill, her mother, voiced by Jules Koostachin, and father, voiced by Ron Harris, in a scene from the animated series \"Molly of Denali.\" The animated show, which highlights the adventures of a 10-year-old Athabascan girl, Molly Mabray, premieres July 15 on PBS Kids.' width=\"800\" height=\"420\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/800.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/800-160x84.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/800-768x403.jpeg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From right, Molly, voiced by Sovereign Bill, her mother, voiced by Jules Koostachin, and father, voiced by Ron Harris, in a scene from the animated series “Molly of Denali.” \u003ccite>(PBS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Among those advisers is Anchorage resident Rochelle Adams, a Gwich’in Athabascan linguist who still lives part-time in the tiny Yukon River village of Beaver in Alaska’s interior, where people continue to live a subsistence lifestyle, hunting for moose and black bear.\u003c/p>\n\u003cp>In 2016, Adams and other advisers met with Gillim for two days in Fairbanks in what Adams describes as an intensive time fleshing out the characters and their community. Adams said she hopes the series educates the world amid so many misconceptions about the state and Alaska Natives.\u003c/p>\n\u003cp>Each episode contains two stories introducing children to various cultures, people and places through Molly, her dog Suki, her Native friend Tooey and African-American friend Trini, whose family moved to Alaska from Texas. To reflect the community’s fictitious location near Denali, North America’s tallest mountain, Molly’s family is Gwich’in, Koyukon and Dena’ina — three Athabascan groups among 11 with ties to the region, Adams said.\u003c/p>\n\u003cp>That level of storyline attention is a long way from Adams’ childhood when she never saw anyone like her or her family depicted in pop culture.\u003c/p>\n\u003cp>“All I saw was people that didn’t look like us,” she said. “So working on this has been such an honor for me.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Princess Daazhraii Johnson grew up eating dried salmon and moose-head soup — foods labeled weird by other kids who had no understanding of her culture and traditions.\u003c/p>\n\u003cp>Now the Fairbanks woman and other Alaska Natives are presenting their world to a general audience with “Molly of Denali,” the nation’s first-ever children’s series featuring indigenous leads.\u003c/p>\n\u003cp>The animated show, which premieres July 15 on PBS Kids, highlights the adventures of a 10-year-old Athabascan girl, Molly Mabray. Her family owns the Denali Trading Post in the fictitious community of Qyah, whose residents are both Native and non-Native.\u003c/p>\n\u003cp>“We have an opportunity with this show, with ‘Molly of Denali,’ to inform and to show us in a positive and respectful light,” says Johnson, creative producer of the series and a member of an Athabascan group, Neets’aii Gwich’in.\u003c/p>\n\u003cp>Her family has roots in Arctic Village, Alaska, but she grew up all over the state, she says, including summers spent with her grandmother in the Gwich’in village of Fort Yukon.\u003c/p>\n\u003cp>Native Americans voice the indigenous characters in the series, which is co-produced by Boston-based WGBH and animation partner Atomic Cartoons in collaboration with Alaska Native advisers and scriptwriters.\u003c/p>\n\u003cp>Molly is voiced by 14-year-old Sovereign Bill of Auburn, Washington. Bill, who auditioned for the role after hearing about it through a Seattle-based Native youth theater group, is a member of the Muckleshoot Indian tribe in Washington and the T’ak Dein Taan clan of the Tlingit tribe from the southeast Alaska community of Hoonah.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"'Molly of Denali,' about an Athabascan girl in Alaska, premieres on PBS Kids\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/oXTjRliNcEA?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Bill said her mother was deeply touched by one of the stories in the hourlong premiere: a look at Molly’s grandfather, who left his traditional drum with a friend way back in his youth. Molly goes on to find the friend and drum in another community, using clues in an old photo of her grandfather and his friend to search the internet.\u003c/p>\n\u003cp>It turns out the grandfather had given up singing along with the drum after he was sent away — as scores of Native children once were — to boarding school, where students were prohibited from practicing their tribal songs amid language suppression efforts. The story ends with the grandfather reconnecting with those cherished traditions.\u003c/p>\n\u003cfigure id=\"attachment_13860892\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13860892\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/800-molly-pbs-2.jpeg\" alt='This image released by PBS shows characters Molly, voiced by Sovereign Bill, left, and her mother, voiced by Jules Koostachin in a scene from the animated series \"Molly of Denali.\" The animated show, which highlights the adventures of a 10-year-old Athabascan girl, Molly Mabray, premieres July 15 on PBS Kids. ' width=\"800\" height=\"381\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/800-molly-pbs-2.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/800-molly-pbs-2-160x76.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/800-molly-pbs-2-768x366.jpeg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">This image released by PBS shows characters Molly, voiced by Sovereign Bill, left, and her mother, voiced by Jules Koostachin in a scene from the animated series “Molly of Denali.” The animated show, which highlights the adventures of a 10-year-old Athabascan girl, Molly Mabray, premieres July 15 on PBS Kids. \u003ccite>(PBS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bill said her maternal grandmother also had been sent away to boarding school. Given her family’s background, Bill’s mother was nearly brought to tears because of the story’s “good message,” the teen said.\u003c/p>\n\u003cp>“It’s able to pass on that message through a kind and loving and kid-friendly way,” she said. “But it’s still teaching and it’s still giving those important values.”\u003c/p>\n\u003cp>As for Johnson’s childhood food favorites, dried fish makes an appearance in the show. What about moose-head soup? “Not yet,” Johnson says with a laugh.\u003c/p>\n\u003cp>Following the longer premiere, the 30-minute show will run mornings seven days a week, according to WGBH executive producer Dorothea Gillim. PBS ordered 38 half-hour episodes besides the premiere, with 13 episodes set for the first rotation.\u003c/p>\n\u003cp>Each episode also includes a short video featuring real Alaska Native children living life in a vast state populated by multiple Native groups with their own diverse cultures and languages.\u003c/p>\n\u003cp>Gillim said she long wanted to do a show featuring a store that’s a social center for locals, like a local store of the Rochester, New York-based Wegmans grocery chain was for her growing up in that city. And WGBH co-creator Kathy Waugh always wanted to do one on an outdoorsy girl. The store became a trading post when the creators decided to place it in Alaska after hearing that then-President Barack Obama visited the state in 2015.\u003c/p>\n\u003cp>PBS gave the green light for a pilot on the concept. That prompted the non-Native creators to reach out to indigenous experts in Alaska, creating a team of cultural advisers for the pilot and, ultimately, the series.\u003c/p>\n\u003cp>“We knew immediately that we needed to partner with Alaska Natives to develop it so that it was truly authentic,” Gillim said.\u003c/p>\n\u003cfigure id=\"attachment_13860893\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13860893\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/800.jpeg\" alt='This image released by PBS shows characters, from right, Molly, voiced by Sovereign Bill, her mother, voiced by Jules Koostachin, and father, voiced by Ron Harris, in a scene from the animated series \"Molly of Denali.\" The animated show, which highlights the adventures of a 10-year-old Athabascan girl, Molly Mabray, premieres July 15 on PBS Kids.' width=\"800\" height=\"420\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/800.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/800-160x84.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/800-768x403.jpeg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From right, Molly, voiced by Sovereign Bill, her mother, voiced by Jules Koostachin, and father, voiced by Ron Harris, in a scene from the animated series “Molly of Denali.” \u003ccite>(PBS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Among those advisers is Anchorage resident Rochelle Adams, a Gwich’in Athabascan linguist who still lives part-time in the tiny Yukon River village of Beaver in Alaska’s interior, where people continue to live a subsistence lifestyle, hunting for moose and black bear.\u003c/p>\n\u003cp>In 2016, Adams and other advisers met with Gillim for two days in Fairbanks in what Adams describes as an intensive time fleshing out the characters and their community. Adams said she hopes the series educates the world amid so many misconceptions about the state and Alaska Natives.\u003c/p>\n\u003cp>Each episode contains two stories introducing children to various cultures, people and places through Molly, her dog Suki, her Native friend Tooey and African-American friend Trini, whose family moved to Alaska from Texas. To reflect the community’s fictitious location near Denali, North America’s tallest mountain, Molly’s family is Gwich’in, Koyukon and Dena’ina — three Athabascan groups among 11 with ties to the region, Adams said.\u003c/p>\n\u003cp>That level of storyline attention is a long way from Adams’ childhood when she never saw anyone like her or her family depicted in pop culture.\u003c/p>\n\u003cp>“All I saw was people that didn’t look like us,” she said. “So working on this has been such an honor for me.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>This was the toughest TV show for me to watch in a long while.\u003c/p>\n\u003cp>\u003cem>When They See Us\u003c/em> is director/writer/producer Ava DuVernay’s searing, four-part drama about five black and Latino boys who were railroaded into falsely confessing to the most notorious gang rape in New York City history. But it wasn’t difficult viewing for its violence—in fact, the Netflix series is very careful in how it presents many instances of assault, with the most grisly details left to viewers’ imagination.\u003c/p>\n\u003cp>It was tough to watch because DuVernay’s look at the Central Park Five depicts a chilling circumstance that sits in the back of my mind, as a black man in America, pretty much every day. What happens when/if white America decides you are guilty of a horrific crime, partially to confirm its own horrific prejudices about people who look like you? What if that happens regardless of the evidence or circumstance?\u003c/p>\n\u003cp>\u003ca href=\"http://youtu.be/u3F9n_smGWY\">http://youtu.be/u3F9n_smGWY\u003c/a>\u003c/p>\n\u003cp>And when/if that time comes, what if every institution that is supposed to protect you — police, lawyers, the media, even your parents and family — all turn their backs, pile on, or are too overwhelmed to make a difference?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This is the stark picture DuVernay offers, in a masterpiece of a series aimed at humanizing five boys who were vilified for decades and served years in prison for a crime they didn’t commit. When we first meet them, Antron McCray, Kevin Richardson, Yusef Salaam, Raymond Santana and Korey Wise (played as boys by Caleel Harris, Asante Blackk, Ethan Herisse, Marquis Rodriguez, and Jharrel Jerome) are typical teenagers; well-meaning young men focused on music lessons, hanging with friends, chatting up girls and finding a fun way to spend spring break.\u003c/p>\n\u003cp>[aside postID='arts_13844441' hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2018/11/Nijla_BTL_Thumbnail-1920x1080.jpg' target='_blank']\u003c/p>\n\u003cp>But within minutes, it’s obvious they’ve landed in the wrong place at the wrong time when they join a group of young men who pour into Central Park from Harlem during an infamous evening in April 1989. DuVernay shows them mostly laughing and roughhousing with each other when they stumble on a knot of young black men beating up a white man; in the Netflix series, one of the attackers says he was beaten by a group of white men in Bronx and was delivering “payback.”\u003c/p>\n\u003cp>News reports at the time painted a different picture. Those stories reported a group of about 30 youths “wilding” — a term the Netflix series depicts coming from an officer’s report on what one of the youths said — beating up and harassing a number of other people in the park, for no real reason.\u003c/p>\n\u003cp>Then there was the jogger: white, 28-year-old investment banker Trisha Meili. She was discovered bound and bleeding in the park, raped and almost beaten to death that night in an attack that left her in a coma for nearly two weeks. When she recovered, she had no memory of the assault.\u003c/p>\n\u003cp>What followed is a plunge into a nightmare that DuVernay recreates with brutal realism. Police detectives and prosecutor zero in on five boys, aged 14 to 16, who were in the park. They isolate them from parents and guardians and spend long hours coercing confessions out of each of them, promising to send them home if they just admit to participating in the rape.\u003c/p>\n\u003cp>I’ll be honest; I had to stop the episode several times during these scenes, once to wipe away tears. I knew what was coming for these children. They were signing away their futures with no knowledge of what they were admitting. They would be convicted of the rape on the strength of these manipulated statements. The world would assume the tale told by police and prosecutors was the truth. It felt like watching a slow-motion lynching.\u003c/p>\n\u003cp>This feeling only builds when the series features the real-life actions of Donald Trump, then a loud-mouthed, celebrity-chasing real estate mogul, who advocated for the Central Park Five to get the death penalty in newspaper ads. Shown in clips from interviews at the time, Trump insists he would rather be “a well-educated black” because of the advantages such a person supposedly has. This from a guy who \u003ca href=\"http://<<https://www.nytimes.com/interactive/2018/10/02/us/politics/trump-family-wealth.html>>\">the \u003cem>New York Times\u003c/em> has reporte\u003c/a>d received the equivalent of $413 million in today’s dollars from his father’s real estate empire to help build his own businesses.\u003c/p>\n\u003cp>Felicity Huffman, whose public image has already been hurt thanks to her \u003ca href=\"https://www.nbcnews.com/news/us-news/felicity-huffman-pleads-guilty-college-admissions-scandal-n1005056\">guilty plea in a college admissions scandal\u003c/a>, is fortuitously cast as the show’s biggest villain — prosecutor Linda Fairstein. In the Netflix show, she calls the Central Park Five “animals,” pushing cops to coerce confessions and hold back evidence.\u003c/p>\n\u003cp>[aside postID='arts_13820054' hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2018/01/PeteNicks_BTL_Thumbnail.jpg' target='_blank']\u003c/p>\n\u003cp>As the series shows, many years later convicted serial rapist and murderer Matias Reyes confessed that he raped Meili alone and DNA evidence found at the scene proves he was there. Still, Huffman’s Fairstein refuses to admit they may have railroaded the wrong people. (The adult men are played by Jovan Adepo, Justin Cunningham, Freddy Miyares, Chris Chalk, and Jharrel Jerome, who plays Wise as both a young man and an older one.)\u003c/p>\n\u003cp>But empathy for the falsely accused can come at a price. Because this show is based on the stories of the Central Park Five, humanizing these black and brown kids caught up the rush to convict, we don’t get a lot of background on the other victims of assaults in the park that night. Even Meili, the most famous victim, isn’t given much substance; she’s showcased best in a powerful moment when she struggles to walk to the witness stand in one of the trials.\u003c/p>\n\u003cp>In combating the prejudice and rush to judgment of the original event, \u003cem>When They See Us\u003c/em> is a mostly sympathetic retelling. The series unwinds the prevailing narrative about the Central Park Five by presenting another one largely in their favor, even when they make unwise decisions.\u003c/p>\n\u003cp>In her Oscar-nominated feature film \u003cem>Selma\u003c/em> and her Oscar-nominated documentary \u003cem>13th\u003c/em>, DuVernay has stood as a principled filmmaker of color whose work wrests control of history’s narrative from white-dominated institutions. I almost felt this story could have been called \u003cem>When WILL They See Us\u003c/em>, for DuVernay’s bold work insisting viewers take in the full humanity of these black and brown men and their families.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>When They See Us\u003c/em> achieves quite a lot, asking us all to consider exactly who in America really gets the presumption of innocence when accused of a crime. And what’s the cost — to individuals’ lives and for society as a whole — when prejudice and poverty unduly affects that answer?\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This was the toughest TV show for me to watch in a long while.\u003c/p>\n\u003cp>\u003cem>When They See Us\u003c/em> is director/writer/producer Ava DuVernay’s searing, four-part drama about five black and Latino boys who were railroaded into falsely confessing to the most notorious gang rape in New York City history. But it wasn’t difficult viewing for its violence—in fact, the Netflix series is very careful in how it presents many instances of assault, with the most grisly details left to viewers’ imagination.\u003c/p>\n\u003cp>It was tough to watch because DuVernay’s look at the Central Park Five depicts a chilling circumstance that sits in the back of my mind, as a black man in America, pretty much every day. What happens when/if white America decides you are guilty of a horrific crime, partially to confirm its own horrific prejudices about people who look like you? What if that happens regardless of the evidence or circumstance?\u003c/p>\n\u003cp>\u003ca href=\"http://youtu.be/u3F9n_smGWY\">http://youtu.be/u3F9n_smGWY\u003c/a>\u003c/p>\n\u003cp>And when/if that time comes, what if every institution that is supposed to protect you — police, lawyers, the media, even your parents and family — all turn their backs, pile on, or are too overwhelmed to make a difference?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But within minutes, it’s obvious they’ve landed in the wrong place at the wrong time when they join a group of young men who pour into Central Park from Harlem during an infamous evening in April 1989. DuVernay shows them mostly laughing and roughhousing with each other when they stumble on a knot of young black men beating up a white man; in the Netflix series, one of the attackers says he was beaten by a group of white men in Bronx and was delivering “payback.”\u003c/p>\n\u003cp>News reports at the time painted a different picture. Those stories reported a group of about 30 youths “wilding” — a term the Netflix series depicts coming from an officer’s report on what one of the youths said — beating up and harassing a number of other people in the park, for no real reason.\u003c/p>\n\u003cp>Then there was the jogger: white, 28-year-old investment banker Trisha Meili. She was discovered bound and bleeding in the park, raped and almost beaten to death that night in an attack that left her in a coma for nearly two weeks. When she recovered, she had no memory of the assault.\u003c/p>\n\u003cp>What followed is a plunge into a nightmare that DuVernay recreates with brutal realism. Police detectives and prosecutor zero in on five boys, aged 14 to 16, who were in the park. They isolate them from parents and guardians and spend long hours coercing confessions out of each of them, promising to send them home if they just admit to participating in the rape.\u003c/p>\n\u003cp>I’ll be honest; I had to stop the episode several times during these scenes, once to wipe away tears. I knew what was coming for these children. They were signing away their futures with no knowledge of what they were admitting. They would be convicted of the rape on the strength of these manipulated statements. The world would assume the tale told by police and prosecutors was the truth. It felt like watching a slow-motion lynching.\u003c/p>\n\u003cp>This feeling only builds when the series features the real-life actions of Donald Trump, then a loud-mouthed, celebrity-chasing real estate mogul, who advocated for the Central Park Five to get the death penalty in newspaper ads. Shown in clips from interviews at the time, Trump insists he would rather be “a well-educated black” because of the advantages such a person supposedly has. This from a guy who \u003ca href=\"http://<<https://www.nytimes.com/interactive/2018/10/02/us/politics/trump-family-wealth.html>>\">the \u003cem>New York Times\u003c/em> has reporte\u003c/a>d received the equivalent of $413 million in today’s dollars from his father’s real estate empire to help build his own businesses.\u003c/p>\n\u003cp>Felicity Huffman, whose public image has already been hurt thanks to her \u003ca href=\"https://www.nbcnews.com/news/us-news/felicity-huffman-pleads-guilty-college-admissions-scandal-n1005056\">guilty plea in a college admissions scandal\u003c/a>, is fortuitously cast as the show’s biggest villain — prosecutor Linda Fairstein. In the Netflix show, she calls the Central Park Five “animals,” pushing cops to coerce confessions and hold back evidence.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
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